By Paul Wells (auth.)
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Additional info for Animation, Sport and Culture
Everything that characterised moving pictures before the twentieth century – the manual construction of images, loop actions, the discrete nature of space and movement – was delegated to cinema’s bastard relative, its supplement and shadow – animation. Twentiethcentury animation became a depository for nineteenth-century moving image techniques left behind by cinema. (Manovich 2002:298) This is not to say, however, that disaggregation was a wholly bad thing, in that it permitted experimentation that soon became absent from cinema as it was to become more generic in nature.
For example, ‘In a classic Disney cartoon, Goofy, a considerate and gentle being, becomes a monstrous killer when he gets behind the steering wheel’ (Bergan 1982:82). And that’s it. Introduction 25 No mention that this is likely to be Motor Mania (Dir: Jack Kinney, USA, 1950), and no reference to the extensive series of sports-related Goofy cartoons between 1941 and 1951 (see Chapter 2). Equally, Bergan highlights Donald’s Golf Game (Dir: Jack King, USA, 1938), a Disney cartoon featuring Donald Duck, and his nephews, Huey, Dewy and Louie, who cause havoc for their uncle by substituting a ﬁsh net or an umbrella for his golf clubs and inserting a cricket in the golf ball he uses.
Feeling, time, space and motion In the ﬁrst overview of the relationship between sport and ﬁlm that I read a number of years ago, Ronald Bergan both illuminates and frustrates on these issues (see Bergan 1982). Usefully, he makes an important observation about the difference between the television coverage and cinematic engagement with sport, noting: TV techniques create the immediacy of the spectacle, moving rapidly from inside a huddle to the sidelines to instant replay. A movie which tries to use the same techniques will suffer by comparison lacking the spontaneity and excitement of the real thing.
Animation, Sport and Culture by Paul Wells (auth.)