Early Cartoons

The Enchanted Drawing
R: J. Stuart Blackton. K: Albert E. Smith. D: J. Stuart Blackton. P: Edison. USA 1900

Le squelette joyeux
R & P: Auguste and Louis Lumière. Fr 1897

Le songe d’un garçon de café (The Hasher’s Delirium)
R: Émile Cohl. P: Société des Etablissements L. Gaumont. Fr 1910

Little Nemo
(aka: Winsor McCay, the Famous Cartoonist of the N.Y. Herald and His Moving Comics)
R: Winsor McCay, J. Stuart Blackton (Realszenen). D: Winsor McCay, John Bunny, George McManus. P: Vitagraph Company of America. USA 1911

About Winsor McCay:
Frankfurter Rundschau

Keeping up with the Joneses (Women’s styles / Men’s style)
R: Harry S. Palmer. P: Gaumont American. USA 1915

“From a series begun in September 1915 based on the ‘Keeping Up with the Joneses’ newspaper comic by ‘Pop’ Momand. The films begin with ‘out of the inkwell’ drawings of the sort seen in Winsor McCay films and later elaborated by Max Fleischer. Like other comic strips and animated films of the era, notably Bringing Up Father (published from 1912; filmed 1916-18), Keeping Up with the Joneses features a husband oppressed by a wife’s obsession with high society and consumer fashion. The series ended abruptly in February 1916 after its animator, Harry S. Palmer, lost a patent infringement suit brought by John Randolph Bray over the use of transparent celluloid sheets.”
Library of Congress

Fantasmagorie
R: Émile Cohl. P: Société des Etablissements L. Gaumont. Fr 1908

“Just as Méliès could be said to have revived and transformed both the magic act and the féerie tradition in early French cinema, so, too, could Cohl, a respected Paris graphic artist and caricaturist who had contracted to write scenarios for Gaumont in early 1908, be said to have ‘reinvented’ the comic strip on film. When Cohl received Gaumont’s permission to experiment with animation, in the summer of 1908, instead of relying on the ‘lightning sketches’ or animated objects of earlier films, he turned to the more refined technique of India-ink line drawings on white rice paper. For his first film (…) Cohl made more than sevenhundred individual line drawings, recorded each twice (frame by frame), and had the laboratory print, the footage in negative, in order to produce a white-on-black chalk-line effect. The finished product, Fantasmagorie, was released in Paris, in August 1908, and enjoyed an immediate success.”
Richard Abel: The Ciné Goes to Town. French Cinema 1896-1914. Berkeley/Los Angeles/London 1998, p. 286

About Émile Cohl:
Les indépendants du premier siecle

TRAUM UND EXZESS, S. 200 (zu Winsor McCay)