Most of the stop-motion animation produced in the past century, of which most audiences are aware, has been done for either short formats or special effects. The earliest stop-motion films were merely experiments in moving objects before the camera, like Bewitched Matches (1913) and The Automatic Moving Company (1912). The former was actually a stop-motion sequence for a live?action short. American puppet films lasting only 7 to 12 minutes were produced by Kinex Studios for home viewing and by George Pal for theatrical distribution,while the Czech movement of puppet film shorts began overseas in Eastern Europe. At the same time, stop-motion effects for creature sequences in live-action fantasy films began with the innovations of Willis Orsquo;Brien and Ray Harryhausen,moving onto Star Wars and countless other films of the 1980s. Independent short films such as Will Vintonrsquo;s Closed Mondays and Co Hoedemanrsquo;s Sandcastle would also gain recognition in festivals and win Best Animated Short Film at the Academy Awards. Another vessel for stop-motion in short format worldwide was television, which brought us Gumby, Morph, Colargol, the California Raisins,and many other characters, series, parodies, and commercials.
Whether it was for a short film or a brief fantasy sequence in a feature, these stop?motion efforts were designed to hold the audiencersquo;s attention only for a brief moment, a mere bridge getting them from one feature of entertainment to another. The short format for stop-motion is a double-edged sword in the oppor?tunity it has lavished on the medium. For the most well-executed stop-motion sequences, such as Harryhausenrsquo;s 5-minute skeleton fight in 1963rsquo;s Jason and the Argonauts, the shorter format provided a solid frame to place as much quality as possible into them. Often there was not enough time or budget to create the same amount of animation for more than what any feature film required, so all available resources were applied to creating these short moments of beautiful entertainment.
At the same time, the jerky quality inherent in many of the early examples of stop-motion photography made it difficult for audiences to sit through more than a few minutes. If the technique distracted the audience from the story or character development, stop-motion could not be utilized as much more than a novelty.
Combining quality stop-motion animation with a format long enough to truly involve an audience on an emotional level, through a longer story arc of about 70 to 120 minutes, proved to be a very difficult task to pull off in its early development. The number of stop-motion features produced would often have several years of dormancy between them, depending on the coun?try. The time-consuming nature of stop-motion in general, combined with the extra effort needed to produce more than one hour of it, has partly con?tributed to this sporadic output. The commercial success or failure of these films would also have an impact on how often they would arrive, since it was also difficult to finance projects of this magnitude.
Feature-length projects, which are simultaneously the most expensive and profitable form of filmmaking, often set the bar for success of any medium in the animation field, regardless of their popularity in shorter formats. In 1937,Walt Disney took the world by storm with the phenomenal success of Snow White and the Seven Dwarfs. It was not the first animated feature ever made (chronologically), but it was the first to set the standard for what the anima?tion medium could achieve in a feature-length format. For decades afterward, the Disney studio was far ahead of what others tried to achieve in producing animated features, in terms of artistic innovation and commercial success. For a time, there were other features such as Yellow Submarine (1968), Ralph Bakshirsquo;s Fritz the Cat (1972), and Don Bluthrsquo;s The Secret of NIMH (1982),which went into artistic directions that Disney was failing to delve into at the time. However, few of these films, as fun as they are, reached the same level of mass commercial appeal as the timeless classics of Disney animationrsquo;s golden age.
It would be company branches owned by Disney that would help to bring the animated feature back in vogue, through landmarks like Who Framed Roger Rabbit (1988), Pixarrsquo;s Toy Story (1995), and even Tim Burtonrsquo;s The Nightmare Before Christmas (1993). Nightmare, of course, was a major turning point for stop-motion as the mediumrsquo;s first feature-length project to receive worldwide distribution and a huge following for years after its initial release. Meanwhile,in the years following, CG features by Disney/Pixar (Finding Nemo, WALL-E),DreamWorks SKG (Shrek, Madagascar), Blue Sky (Ice Age, Horton Hears a Who!), and others grew to dominate and saturate the feature market. The CG boom of the past decade expanded to the point of prompting rumors of the extinction of more traditional techniques of hand-drawn and stop-motion,partly fueled by Disneyrsquo;s misguided decision to abandon the hand-drawn medium for features. Yet this rumored extinction was not necessarily the case;these traditional features were simply coming from different places. Hayao Miyazakirsquo;s Studio Ghibli kept hand-drawn features alive in Japan, and the critically acclaimed Persepolis took the medium into a much more personal realm of expression. In 2005, two stop-motion features, Wallace amp; Gromit:The Curse of the Were-Rabbit and Tim Burtonrsquo;s Corpse Bride, were brought to the screen within two weeks of each other.
The year 2009 provided a unique renaissance for all media of feature anima?tion, including successful CG releases like Up and Ice Age: Dawn of the Dinosaurs, Disneyrsquo;s return to hand-drawn animation with The Princess and the Frog, and a fresh approach to the medium by the brilliant The Secret of Kells from Ireland. Also having an equally strong voice in 2009 was an unprece?dented run of five stop-motion features to
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在过去的一个世纪里，大部分观众都知道的定格动画，大部分都是为短格式或特效制作的。最早的定格影片仅仅是在摄影机前移动物体的实验，如Bewitched Matches（1913）和The Automatic Moving Company（1912）。前者实际上是一个动作短片的停止动作序列。美国的木偶电影只有7到12分钟的时间由Kinex工作室制作供家庭观看，George Pal制作戏剧发行，而捷克木偶电影短片运动从东欧开始在海外举行。与此同时，真人奇幻电影中的生物序列的定格效应开始于威利斯bull;奥布莱恩(Willis O 布莱恩)和雷bull;哈瑞豪森(Ray Harryhausen)的创新，转向了《星球大战》(Star Wars)和上世纪80年代的无数其他电影。独立的短片，如威尔·文顿的《星期一》和科霍德曼的《沙堡》也将在电影节上获得认可，并获得奥斯卡最佳动画短片奖。世界范围内的另一种以短形式停止运动的容器是电视，它给我们带来了Gumby, Morph, Colargol，加利福尼亚的Raisins，还有许多其他的角色，系列，恶搞和商业广告。
无论是对于一部短片，还是一段短暂的奇幻故事，这些都能停下来吗?运动的目的是为了让观众的注意力只停留在短暂的瞬间，而仅仅是把他们从娱乐的一个特征转移到另一个。在oppor中，停止运动的短格式是一把双刃剑?它在媒体上挥霍无度。对于那些执行得最好的定格动画，比如1963年的《杰森和阿尔戈》(Jason and the Argonauts)的《五分钟骨架大战》(Jason and the Argonauts)，更短的格式提供了一个坚实的框架，尽可能地把质量放在他们的身上。通常没有足够的时间和预算来制作相同数量的动画，而不是制作任何需要的电影，所以所有可用的资源都被用于制作这些短暂的美丽娱乐。
与此同时，许多早期的停拍摄影作品中所固有的那种令人眼花缭乱的品质，让观众很难坐上几分钟。如果这种技术分散了观众对故事或角色发展的注意力，那么停止动作就不可能比新奇更有效。
事实证明，通过长达70到120分钟的长篇故事，将高质量的定格动画与足够长的格式结合在一起，能够真正让观众在情感层面上融入其中，从而在其早期发展中取得成功。 根据国家的不同，产生的静止运动特征的数量通常会有几年的休眠期。 一般来说停止运动的耗时性质，再加上产生一个多小时的额外努力，部分地促成了这种零星产出。 这些电影的商业成功或失败也会影响它们到达的频率，因为为这种规模的项目融资也很困难。
长篇的项目，同时也是最昂贵和最赚钱的电影制作形式，通常是在动画领域的任何媒体的成功的门槛，无论他们的流行在更短的格式。1937年，华特·迪士尼以《白雪公主和七个小矮人》的巨大成功征服了世界。它并不是第一个(按时间顺序)制作的动画长片，但它是第一个为动画设定标准的动画。介质可以以特征长度的格式实现。此后的几十年里，迪士尼工作室在艺术创新和商业成功方面远远领先于其他公司。有一段时间，还有其他一些特征，比如黄色潜水艇(1968年)、拉尔夫·巴克希(Ralph Bakshi)的弗里茨猫(1972年)、唐·布鲁斯(Don Bluth)的《尼姆(1982)》(NIMH(1982))的秘密，这些都是迪斯尼当时没能深入研究的艺术方向。然而，很少有这样的电影，像它们一样有趣，达到了与迪斯尼动画的黄金时代永恒经典一样的大众商业吸引力。
它将是迪斯尼公司旗下的公司，它将会帮助把这一动画形象带回到《时尚》杂志，通过像《兔子罗杰》(1988)、皮克斯的《玩具总动员》(1995)，甚至是蒂姆·波顿在圣诞节前的噩梦(1993年)。噩梦，当然，是一个重要的转折点，作为媒介的第一个特征长度的项目，获得全球分布和一个巨大的追随者，在它的最初发布数年之后。与此同时，在接下来的几年里，迪士尼/皮克斯动画工作室（《海底总动员》、《机器人总动员》）、梦工厂(DreamWorks SKG)、《蓝天》（《冰河世纪》、霍顿(Horton)听到了谁的名字!）以及其他一些人开始主宰和饱和这个特色市场。过去十年里，CG的繁荣发展到促使人们对传统的手绘和定格技术的消亡的传言，部分是由于迪斯尼错误的决定放弃手绘媒体的功能。然而，传说中的灭绝并不一定是这样，这些传统的特征只是来自不同的地方。宫崎骏的工作室吉卜力在日本保留了手绘的特征，广受好评的波斯城邦将媒介带入了一个更加个人化的表达领域。2005年，两部定格动画电影《超级英雄》(Wallace amp; Gromit:The Curse of The were - rabbit)和蒂姆bull;波顿(Tim Burton)的《僵尸新娘》(Corpse Bride)在两周内被搬上银幕。
2009年为所有的feature anima的媒体提供了一个独特的复兴?包括《冰河世纪:恐龙的黎明》、迪斯尼与公主和青蛙手绘动画的回归，以及来自爱尔兰的凯尔的秘密的新方法。在2009年，还有一个同样强大的声音是不可能的吗?凹进运行的五个停止运动特征被释放，每一个不同的风格，技术和分配。这两部电影的主流版本是亨利·塞利克的《克洛琳》和韦斯·安德森的《了不起的狐狸先生》，这两部电影都吸引了家庭观众。电影节上，亚当·艾略特(Adam Elliott)的《玛丽与麦克斯》(Mary and Max)、塔蒂亚·罗森塔尔(Tatia Rosenthal)的《9.99美元》(Tatia Rosenthal)以及《恐慌》(Panic by Stephane Aubier)和文森特·帕塔(Vincent Patar)等人对成人的感性认识更加强烈。这些电影中个人风格的多样性以及同一年内发行的时间对于静止媒体来说是前所未有的。事实上，更多使用定格运动的功能已经在他们的尾声中出现，这表明了定格动画电影真正成熟的令人兴奋的趋势。这可能是艺术形式终于有了一个机会，它应该在世界范围内每年都给观众带来的巨大的电影佳能。
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