Animation film

The animated cinema is a category of cinema (or in a general way, a category of visual or audiovisual art) that is characterized by not resorting to the technique of filming real images but to one or more animation techniques. Traditional animation techniques have long been cartooning (flat two-dimensional drawings photographed frame by frame) or volume animation (reduced models or puppets, also photographed frame by frame), although in more recent times it has also been used. to computer animation.

Live-image cinema records real images in continuous motion, automatically breaking them down into a set number of images per second. In animated cinema, there is no real movement to record, but images are produced separately from reality, either automatically (with the help of a computer, in the case of computer animation), or one by one (as in the case of traditional animation techniques, using drawings, models, objects and multiple other techniques), in such a way that, when the resulting film is projected consecutively, the illusion of movement is produced. The difference between animation and the real image is that real-image cinema analyzes and breaks down real movement, while animated cinema produces the visual sensation of movement that actually does not exist in the real world.

Definition of animation

The correct definition of the word animation comes from the Latin lexeme «anima» which means «soul». Therefore, the action of animating should be translated as "provide a soul", referring to everything that does not have it.

According to the American animator Gene Deitch, «“cinematic animation” is the recording of phases of an imaginary action created individually, in such a way that the illusion of movement is produced when they are projected at a constant and predetermined rate, greater than that of the persistence of vision in the person.

Types of animation

• Traditional animation
  • Cartoon drawing
  • Volume animation
  • Animation in volume go motion
• Rotoscopia
• 3D animation
• Pilot animation
• Capture of movement

History

Background

The idea of recreating the illusion of movement with a series of drawings is older than the birth of cinema. Some historians go back to prehistory, in which, through cave paintings, they tried to express movement, so that they remain static. Other later discoveries, in Egypt and Greece, corroborate this tendency to represent different phases of movement in his art.

The first known attempt at animation by projecting images dates back to 1640, when the German Athanasius Kircher invented the first image projector, the "magic lantern", in which, by etching on glass, he was able to to project different consecutive phases of the movement, changing the crystals mechanically. In one of his projections he represented a man while he slept, opening and closing his mouth.

The fledgling world of animation was stagnant until 1824, when Peter Mark Roget discovered the principle of persistence of vision, the foundation on which all projected images we know today are based. He demonstrated that the human eye retains the image it sees long enough to be replaced by another, and so on, until making a complete movement, as seen in his thaumatrope.

Although many inventions were born in the shadow of the principle of persistence of vision, none went beyond the toy category until the arrival of Joseph Antoine Plateau's "Phenakistoscope" in 1831, in which he managed to capture a complete movement through the use of drawings.

Among the bases of the origin of animation is the same game of shadows and the projection of cut-out paper silhouettes created by Chinese culture.

The Animated Movie

Animation appeared before the cinematograph itself. In 1888 the Frenchman Émile Reynaud, father of animated cinema, invented the praxinoscope, one of the many optical toys of the time, in which a pre-cinematic animation technique was used. Later he perfected it with his optical theater, which allowed the projection of animated films. Endowed with a plot on a screen for an audience and, accompanied by music and sound effects, he maintained a cartoon show from 1892 until the end of the 20th century. Of his production, Poor Pierrot!, lasting 4 minutes, is currently preserved.

The next pioneer of animated cinema was the Frenchman Émile Cohl, who from 1908 made the first cartoon short films, among which Fantasmagorie, lasting one minute and twenty seconds, stands out. In 1912 he created what is surely the first character in the history of animated cinema, Baby Snookum Another pioneer was George Méliès, who used abundant effects made with animation techniques in his films.

James Stuart Blackton and the Spanish Segundo de Chomón Sweden incorporated new movements into action.

In 1906 J. Stuart Blackton released Humorous Phases of Funny Faces, considered the first animated film, in which characters drawn in chalk on a blackboard move across the screen and make different gestures and even interact with each other.

We also find Winsor McCay, who in 1914 premiered Gertie the Dinosaur, a film shot with real characters and locations, but in which an animated sequence appears following a technique similar to Blackton's. A succession of drawings of a dinosaur give the impression that it is in motion. McCay will make other films such as The Sinking of the Lusitania (1918), in which he uses the same technique, combining it with a layered montage like the one Georges Méliès had already used in his films, to Give it depth and some realism.

In his films, McCay drew each frame from scratch, which slowed down and therefore made the entire animation process more expensive. It was Earl Hurd who patented the acetate system, on which classic commercial animation would be based. This consisted of drawing the fixed backgrounds, and the characters on transparent acetate sheets, which greatly speeded up the production of animated films. It should be noted that the acetate system was inspired by that of John Randolph, who instead of using fixed backgrounds in his films, created some of the invariable elements of both the background and the characters on some sheets that he would use in the animation.. It is considered that with this system he created the first commercial animated series in 1913, entitled Colonel Heezaliar in Africa .

Max Fleischer made a great contribution to the world of animation by inventing the rotoscope in 1917, a device that projected a real film onto a table, allowing fictional characters to be drawn based on real characters, a similar technique to that of motion capture, which would appear much later. Together with his brother, Dave Fleischer, and Lee De Forest, he released the first sound animation, Oh Mabel , in 1924. It should be noted that at the time, in most cases it was not projected with sound since the cinemas did not yet have the technology to reproduce sound. The Fleischer brothers were creators of some of the most iconic characters in animated talkies such as Betty Boop or Popeye the sailor (in his adaptation to animated films).

But the creator of what we understand today as animated cinema is the Italian-Argentine Quirino Cristiani, who in 1917 created the first animated film in history, The Apostle. El Apóstol is a satirical film of the President of Argentina at the time, Hipólito Yrigoyen. The Apostle was directed, scripted and entirely animated by Cristiani, meaning that he alone made the entire film. However, today The Apostle is lost, since it was burned in a fire and no copies have been preserved.

But without a doubt the most famous was Walt Disney. Disney began shooting commercials in a garage in the state of Kansas with a rental camera. He photographed some letters that were moving until they were placed in their correct position to convey a message. After a brief period working at the production company Ad Films , where he learned animation techniques, he founded, together with Ub Iwerks and many other animators and small businessmen, the production company Laugh-O-Gram Films . His first films were revisited adaptations of traditional children's tales such as Little Red Riding Hood or Cinderella .

Walt Disney drawing Goofy.

After creating several films with this production company, Disney began to experiment with other techniques. Unlike M. Fleischer, Disney made an animated film featuring a real character: Alice in Cartoonland ("Alice in Cartoonland"). For this he recorded the actress Virginia Davis on a black background, which allowed him to later draw the animated characters on top. After failing to find a distributor to accept the film, Disney decided to move to Hollywood, despite the fact that the nerve center of animated film production was New York at the time. There, to earn a living, he returned to making cartoons in a garage and with a rented camera. However, a production company became interested in Alice in Cartoonland and proposed a contract to Disney for a 12-episode series of the original short. This is how the Disney Brothers Cartoons Studio was born, which Walt decided to create together with his brother to carry out this production. After finishing the first shorts, they decided to hire some cartoonists. Disney designed the characters, but it was the cartoonists who developed them and created the different frames. The series was so successful that a second series on the same theme was negotiated. In 1926 the company began to be called Walt Disney Studio.

After this series, they began working on a new production and a new character: Oswald, the Lucky Rabbit ("Oswald, the lucky rabbit"), who later became would inspire Mickey Mouse. The first short in which Oswald would appear would be called Poor Papa. Given the demand to complicate the arguments of these films by the distributors, since until now most films were a succession of gags, sketches began to be drawn on how the story would develop, which were projected in many cases to see whether they worked before refining and inking the drawings. Here we see the precedent of the storyboard, it will be in 1928 when Walt Disney registered the character of Mickey Mouse, which he had created from Oswald the rabbit. After finishing Mickey's first film, in order to sell a series of cartoons to a distributor, Disney intends to offer a sound film. This was the time when talkies were just beginning (The Jazz Singer, the first talkie, was released in 1927), and the technology of the time was very rudimentary. Disney made some marks on the film frames to measure the tempo of the music and sounds. One of the options was to record the sounds on a disk and then synchronize it, as was done in the early days of talkies, but Disney insisted on recording the sound in the film itself, for which it used Pat Powers' Cinephone. Thus, on November 18, 1928, Steamboat Willie premiered in a theater at Universal Studios.

Throughout the 1930s, new characters emerged such as Donald Duck, Pluto or Goofy, and new films such as The Three Little Pigs, which were very successful, making the Disney studios grow exponentially, reaching around 800 workers in the 1940s. It is then that the studio's work began to be mechanized, resembling that of a factory. The realization of the drawings of each frame was divided between several cartoonists. There were departments for narrative ideation, new characters, movement and animation work, etc. Sketches were made that were polished in other departments after being projected to ensure that the characters were always the same despite being made by different cartoonists.

Animated feature films

The first animated feature film was silent and Argentinean The Apostle (1917) by Quirino Cristiani, a film that has been lost because the celluloid on which it had been revealed was later used, following the custom of the time, in the manufacture of combs.

Other early feature films (which are available to today's audiences) were The Adventures of Prince Achmed (Germany, 1926) by Lotte Reiniger and Le roman de Renard (France, completed in 1930 but released in 1937) by Starewicz. Finally, in 1937 Walt Disney released Snow White and the Seven Dwarfs.

Before World War II, animation was used as a political weapon, in which the great dictators of the time were ridiculed. During the war, screenings and comic strips of 'Ducktators,' a series of Warner Brothers short films, were popular with American soldiers. Soldiers decorated bombs and planes with pictures of 'Ducktators'.

After World War II there was an enormous development of what was already the Animated Film Industry.

In the United States, classic cartoon was consolidated with Disney feature films and Warner Bros. short films (with artists like Chuck Jones and Friz Freleng; characters like Bugs Bunny, Daffy Duck, Elmer, Porky, etc.), by Metro Goldwyn Mayer (with Tex Avery), and later the new style of UPA.

The National Film Board of Canada promoted all kinds of cutting-edge experiments that would make Canada a world power. It highlights the work of one of the leading experimental and abstract animators of all time: Norman McLaren. Even today you can see concepts that McLaren invented even in advertisements and video clips. To this day, the NFB has produced the work of numerous artists, including Frédéric Back, Ryan Larkin, Ishu Patel, Caroline Leaf, Chris Landreth, etc.

In the countries of the communist bloc, the state intensely promoted animation. This allowed many animators to work without commercial pressure and create works of immense variety and risk (and in many cases they made films against the political regime they suffered, in order to pass censorship). The first major figure in this development was the Czech puppet animator Jiri Trnka, a popular and delicate artist.

In these years, animated films also began to be made in China and Japan.

Animation and television

In the 1960s and 1970s, with the popularization of television, animated short films disappeared definitively from theaters, from then on limited to commercial feature films, a field dominated by Disney until the 1990s. Despite this the short film flourished in other distribution channels (festivals, specialized circuits, etc.), especially with the appearance of numerous animation schools around the world.

In the United States, Hanna-Barbera dominated animation for television and Disney animation for film. However, in the 1970s some alternatives found favor with the public. The best known may be Ralph Bakshi, with his first films belonging to the underground movement (Heavy Traffic, Fritz the Hot Cat) and later his fantasy films (The Lord of the Rings, Wizards, Tygra). Among the short filmmakers stood out John and Faith Hubley.

The industries of Eastern Europe and the Soviet Union became the most powerful in the world: production was enormous in volume and variety, from children's television series to the most avant-garde and radical artistic short films. Among the many important artists, the most famous is the Czech Jan Švankmajer, who uses stop-motion and plasticine to create surreal worlds. Other names that can be mentioned are Marcell Jankovics, Sándor Reisenbüchler, Yuri Norstein, Walerian Borowczyk, Jan Lenica, etc.

Osamu Tezuka starred in the explosion of Japanese cartoons, hereinafter known as anime. A prolific comic book author, he adapted several of his own works, scoring his first success with the television series Astroboy, which defined the usual traits of anime: character facial features, limited animation, comic book-like narration, live-action cinema, a link between the animation industry and the comics industry. Tezuka, a creative hurricane, has also made feature films and even short experimental films. During the 1960s, anime was common in movie theaters, but in the following decade it was confined to television. There were also notable independent animators like Yoji Kuri and Kihachiro Kawamoto.

In Western Europe the achievements were more specific: films like The Yellow Submarine by George Dunning, Allegro non troppo by Bruno Bozzetto or The Savage Planet by Réne Laloux had an impact. In the short film artists such as Raoul Servais, Jean-François Laguionie or Paul Driessen stood out

In the United States

In the United States, Disney had a heyday in the early 1990s, with some of its most successful and best films, most notably Trousdale and Wise's Beauty and the Beast. The rise of infographics has led John Lasseter's Pixar company (initially a small production company making experimental infographic shorts in the 1980s) to become the most successful production company in the world, with films as well received as the best Disney: Toy Story, A Bug's Life, Monsters, Inc., Cars, etc.

There have also been some high-quality stand-alone films, such as Brad Bird's Iron Giant, Henry Selick's The Nightmare Before Christmas, and the fully independent and handcrafted I Married a Stranger and Mutant Aliens by Bill Plympton, a frenetic comedian who is also the best-known short filmmaker of the period.

In Japan

Japanese anime has become the most prolific industry on the planet, catching on all over the world. TV series are innumerable and remain the main attraction for millions of fans. Feature films for theaters, after practically disappearing during the 1970s, returned with an unusual creative and commercial force, mainly after Hayao Miyazaki's Nausicaa of the Valley of the Wind and Akira by Katsuhiro Otomo. There has been an explosion in the variety of styles and themes covered, with authors as diverse as Mamoru Oshii, Satoshi Kon or Isao Takahata, and more recently Makoto Shinkai, while the aforementioned Miyazaki has become an international cult director. with the prestige of the great real image directors. An independent animator who has achieved recognition in the West has been Koji Yamamura.

In Europe

Different European industries have gone through very different situations in this period.

In France, the short films by the production company Folimage have stood out; In feature films, the success of Michel Ocelot's Kiriko and the Witch has paved the way for a growing number of films of remarkable ambition and quality: The Belleville Triplets by Sylvain Chomet, Corto Maltese: La cour secrete des Arcanes by Pascal Morelli, La prophétie des grenouilles by Jacques-Remy Girerd, etc. In addition, and as the most notable feature, the film The Savage Planet directed by René Laloux is considered one of the great classics of animation.

In the UK, production company Aardman Animations (mainly concerned with claymation) became popular on both sides of the Atlantic with its short films (notably Nick Park's Wallace and Gromit saga) and launched into production of feature films with Evasion on the farm by the same director. In the shelter of this success, independent animation flourished, including the Bolexbrothers studio, and the short filmmakers Barry Purves, Phil Mulloy and the Quay brothers.

New generations of animators from Eastern countries have kept their tradition alive, almost exclusively in short films, among which stand out: the Russians Garri Bardin, Aleksandr Petrov and Konstantin Bronzit; the Czechs Aurel Klimt (with his prestigious feature film Fimfarum) and the veteran but still active and well-known Jan Svankmajer; the Pole Piotr Dumala; the Latvians Priit Pärn and Priit Tender and, above all, the Czech School of Animation, led by Jiří Trnka.

In Spanish America

Argentina

• The Apostle (Quirino Cristiani, 1917) was the first animated feature of history. In his honor the Quirino Awards are celebrated, the first Ibero-American awards of animation being held in Santa Cruz de Tenerife (Spain).
• Dante Quinterno was the producer and director of the first cartoon in color of Argentina, with his prestigious short film by the character Patoruzú, entitled "Upa en Apuros" in 1942.
• Manuel García Ferré is considered the greatest exponent of all time in Argentina's animation. Historietista, publicist and animator of Spanish origin lives in Argentina since the age of 17. His films are fully child-oriented, being the creator of famous children's characters, such as Anteojito, Hijitus, Larguirucho, Petete and Calculín, as well as animated television strips, animated feature films and the magazine Anteojito. He is the creator of the only Argentine producer (who bears his name) of animation with continuity.
• Some Argentine animation studies: Patagonik Films (founded in 1997), Estudio Pulpo (founded in 2009).
• Juan Pablo Zaramella It is considered one of the most important contemporary Argentine animators. All his short films were rewarded at festivals around the world. His latest production "Luminaris", won more than 250 international awards such as Annecy 2011, holding the record scripts to the most prized short in history and was preselected to Oscar in the Best Animated Shorts category.
• Other directors highlighted by their short films are:

Santiago 'Bou' Grasso, director of short films such as "El Empleo" (2008) and "Father" (2013), multi-awarded at leading Festivals such as Annecy, Hiroshima, Stuttgart, SICAF, Biarritz and Anima Mundi, among many others. Javier Mrad with his short films 2 meters (2007) and Teclopolis (2009) Standing out for his authorial and unique vision of the world.

• Examples of Argentine animation productions (TV and cinematographic scope):
  • Upa in Apuros (1942, cinema) was the first cartoon in color of the history of the Argentine cinema (produced and directed by Dante Quinterno)
  • The Adventures of Hijitus (1967, TV) was the first television series of cartoons from Argentina and the most successful of Hispanic America.
  • A thousand attempts and an invention (1972, feature film)
  • The Adventures of Hijitus (1973, feature film) was a compilation of several chapters of the television series.
  • Petete and Trapito (1975, feature film)
  • Calculin (1977, telefilm)
  • Petete's fat book (1980, TV)
  • Ico, the brave horse (1981, feature film)
  • My family is a drawing (1996-1998, TV) was an Argentine comedy televised by Telefé
  • Draw: the film (1997, feature film)
  • Draw 2, Nasty's revenge (1998, feature film)
  • Manuelita (1999, feature film)
  • Heart, the joys of Pantriste (2000, feature film)
  • Condor Crux (2000, feature film)
  • The Pintins to the rescue (2000, feature film)
  • Draw 3, the great adventure (premiered feature on 18 July 2002)
  • Mercano the Martian (2002, feature film)
  • Patoruzito (film of 2004) (2004, feature film)
  • Theo, intergalactic hunter (2004, feature film)
  • City Hunters (2005, TV)
  • Patoruzito: the great adventure (2006, feature film)
  • El Ratón Pérez (film) (2006, feature film) Argentine-Spanish coproduction
  • The ark (2007, feature film)
  • Isidoro: The film (2007, feature film)
  • The mouse Perez 2 (2008, feature film) Argentine-Spanish coproduction
  • Boogie, the oily (2009, feature film) co-production Mexico-Argentina
  • Plumni (2010, feature film)
  • Gaturro: the film (2010, 3D feature film) coproduction Mexico-Argentina
  • The Sun (2010, feature film)
  • "Anima Buenos Aires" (2011, feature film)
  • "Don Gato and his gang" (2011, feature film) co-production with Mexico.
  • The machine that makes stars (2012, feature film) co-production Argentine-chilena
  • Selkirk, the real Robinson Crusoe (2012, feature film) co-production Argentina-uruguaya
  • Metegol (film) (2013, feature film) Argentine-Spanish coproduction
  • Gilgamesh (film) CGI Film in Production

Columbia

Colombia has a history of animation that dates back to 1938. Although it emerged as isolated artistic initiatives, the work of Fernando Laverde who made the feature films La poor old lady, Christopher Columbus and Martín Fierro, as well as the experimental animation work by the artist Carlos Santa El pasajero de la noche, opened the ground for creators interested in this art. The work of Nelson Ramírez, whose company led the production of advertising commercials between the 1970s and the early 1990s, is also recognized.

• Examples of Colombian animation productions (TV and film)
• The following agenda (1997) animated series produced by the study mergearte.LTD.
• Bolivar the hero (2002), film produced by the study mergearte.LTD.
• Betty Toons (2002), animated series produced by the study mergearte. LTD and RCN Televisión.
• Descontrol (2005), animated Mexican series produced by TV Azteca and animated in Colombia mergearte. LTD.
• Frofesor Super O (2006)
• Reguechicken (2015), film produced by Dago García Productions
• Zambo Dende (2017), animated series produced by 7glab

Chile

The first animated feature film in Chile was "15 thousand drawings" (1942), both its content and its plot are currently unknown. After this initial kick, Chilean animation remained silent until the 1990s. There is talk of the renaissance of Chilean animation at the beginning of the 2000s, when feature film projects emerged that were internationally successful, which is accompanied by investment in children's television segments by open television channels. This allows the development of numerous productions, including:

• "Ogu and Mampato in Rapa Nui" (2002) Film directed by Alejandro Rojas, considered the first Chilean film of animation in the modern era.
• "Cesante" (2003) Film directed by Ricardo Amunategui.
• "Villa Dulce" (2004) Considered the first Chilean animated series.
• "Diego and Glot" (2005) It would be animated by Canal 13.
• "Pulentos" (2005) Werne Nuñez animated series.
• "The Eye of the Cat" (2005) Channel 13 animated series.
• "Pulentos, the film" (2007) Film directed by Julio Plot.
• "Papelucho and the Martian" (2007) Film directed by Alejandro Rojas.

In addition, it highlights the case of "Historia de un Oso" (2014), animated short film by Gabriel Osorio and responsible for the first [Oscar Award] obtained by a national production.

Cuba

In 1960, the ICAIC Animation Studios were created in Cuba, an institution that to date has created innumerable series, short films and feature films. Among them the award-winning Vampires in Havana, by director Juan Padrón.

Mexico

Mexican animation, in its beginnings, were productions in short film format made by artists with the desire to be part of this little-exploited field in the country.

Some consider that the first Mexican animation was made in 1916, an 8-minute short film called "My dream" based on the homonymous writing of General Salvador Alvarado.

In 1927 Miguel Acosta made the first animated films that lasted 30 seconds.

It is worth mentioning the works of Alfonso Vergara Andrade and some of his early works such as “Paco Perico en premier” from 1935 and “Los cinco cabritos y el lobo” from 1937, short films made at ava films, a studio that he himself founded.

In 1943 they premiered n#34;I'm going hunting#34; by Caricolor, studio founded by Santiago Richi and Manuel Mario Moreno.

In the 1970s and 1980s, some longer-running animated films were produced in an early attempt to create national animated cinema:

• The Three Wise Kings (1974) film by Fernando Ruiz
• The supersabios (1977), made by the Kinemma study.
• The great event (1981), film by Fernando Riuz on the appearances of the virgin of Guadalupe.
• Caribbean Chronicles (1982), a film made by the so-called Coyoacán Workshop
• Roy of space (1983)
• Katy the caterpillar (1984), a Mexico-Spanish coproduction.
• Katy, Kiki and Koko (1987), co-production with Spain.
• The Adventures of Oliver Twist (1987), also called "The Little Ladronzuelo" is the animated adaptation of Charles Dickens' novel by Fernando Ruiz.

In 1994, the animated short "The Hero " by Carlos Carrera wins a Palme d'Or at the Cannes Film Festival, one of the most outstanding awards in the world of cinema.

In 1997, Cuauhtli: Historias de un Pueblo (1997) was released. Second medium-length film made by Fernando Ruiz that deals with the origin of the Aztec people.

Although the production of animated feature films in the 90s was nil, the animation being limited to short films, commercials or advertising; in recent years its production has intensified.

List of Mexican animated feature films from 2000:

• Magicians and giants (2003, Ánima Estudios).
• Imaginum (2005, Top Studies).
• An egg movie (2006, Huevocartoon Productions).
• Legend of Nahuala (2007, Animex Studies).
• The champions of the free struggle (2008, Bouncynet Inc and Azteca Cine). A co-production between Mexico and the United States.
• Agent 00P2 (2009, Top Studies).
• Another egg movie and a chicken (2009, Huevocartoon Productions). Sequel to "An egg movie".
• Nikté (film) (2009, Animex Studies and Nahuala Productions).
• Boogie, the oily (2009, Illusion Studios and Metacube). Co-production between Mexico and Argentina.
• A Martian Christmas (2009, Ánima Estudios y Porchlight Entertainment) Production between Mexico and the United States.
• Sabel Redemption (2009, Santo Domingo Animation and Ithrax).
• AAA without limit in time (2010, Studios).
• Brijes (2010, Santo Domingo Animation). First Mexican animated film in 3D stereotype.
• True heroes (2010, White Knight Creative Productions). Film based on Mexican Independence.
• Gaturro: the film (2010, Illusion Studios and Studios). A co-production Mexico-Argentina
• Kung Fu Magoo (2010, Studios). Film based on the character Mr. Magoo.
• Don Gato and his gang (film) (2011, Ánima Estudios). Film based on the popular Hanna-Barbera series.
• The Great Miracle (2011, Logic). Film made in 3D animation.
• ZBaw Best Friends (2011, Imagination Films). Film made in 3D and stereoscopic format.
• The Revolution of Juan Escopeta (2012, Animex Studies).
• The legend of the llorona (2012, Top Studies). Sequel to "The Legend of La Nahuala".
• The Secret of Jade Medal (2012, Kaxan Animation).
• El Santo vs La Tetona Mendoza (2012, Átomo Films, stamp of Ánima Estudios). First Mexican animated film for teenagers and adults.
• JOYFLUID 3D (2014, 3D production by Alejandro Rodríguez-Huerta).
• La Leyenda de Las Momias (2014, Ánima Estudios). Third delivery of the saga "La Leyenda de La Nahuala".
• Jungle Shuffle (2014), a production of Mexico and South Korea.
• The Book of Life (2014). Mexico - United States. A film by Jorge Gutiérrez and produced by Guillermo Del Toro
• Guardians of OZ (2015). Animum 3D animated film.
• The amazing story of the stone boy (2015, Mantarraya producer through CadereytaFilms).
• Canine selection (2015, Animex e Imagination Films).
• A rooster with many eggs (2015, Huevocartoon Productions) First film of the study in 3D, third delivery of the saga "An Egg Film".
• Don Gato: The Home of the Pandilla (2015, Studios and distributed by Warner Bros. Animation).
• El Callejón de los Sueños (2015, Imagination Films).
• The American: The Movie (2016, Animex, Boxel animation studio and Olmos Productions).
• The Adventures of Itzel and Sonia (2016, Fundación Todo por el Cine). Movie animated in stop motion.
• The legend of Chupacabras (2016, Ánima Estudios).
• Ana and Bruno 3D (2017, Lo Coloco Films and Anima Estudios).
• Calaca Island (2017, Corazón Films and Anima Estudios).
• The Angel on the watch (2018, Photosynthesis Media).
• There's cascarrabic coming. (2018, Anima Estudios).
• La Leyenda del Charro Negro (2018, Anima Estudios). Fifth and last part of The Legends.
• Marcianos vs. Mexicans (2018, Huevocartoon Productions).
• Day of the Dead (2019, Metacube).
• The league of the 5 (2020, Top studies).
• School of Fear (2020, Top studies).
• A Costume for Nicholas (2020, Media).
• The Path of Xico (2020, Top studies).
• A rescue of eggs (2021, Huevocartoon Productions).
• Koati (2021, LatinWe and Upstairs).
• Catalina la Catrina: Special Day of the Dead (2021, Ikartoons).
• Legends: the origin (2022, Top studies).
• Eagle and Jaguar: Legendary Warriors (2022, Kooltoon Entertainment).
• Pinocchio de Guillermo del Toro (2022, The Chucho Workshop).
• Frozen eggs (2022, Huevocartoon Productions).

Some of the Mexican animation studios are:

• Studios
• Huevocartoon
• Animex Productions
• Photosynthesis Media
• Imagination Films
• Metacube
• Mighty animation
• Ghost cinema
• kaxan animation
• Anim-Art Productions
• Lo Coloco Films
• Imagic
• Ithrax
• Demented study
• Gyroscopik Studios

Peru

Peru was the first country in Latin America to make a 3D animated feature film. In 2003, the Alpamayo Entertainment studio was created in Peru, specializing in 3D animation. These are some of the films produced by Alpamayo Entertainment: Pirates in Callao (2005), Dragons, destiny of fire (2006), Valentino and the clan of can (2008). He also began production on the film The Princess's Tooth (2010), but later, due to various circumstances, sold the production rights to another production company that released this film under the name "Rodencia and the princess's tooth".

Venezuelan

The beginning of animation in Venezuela dates back to 1934, when the German Herbert Weis, a specialist technician, was hired by Efraín Gomes to do some work at Laboratorios Naciones. From there came a 3-minute animation made with clippings, from there the animation in Venezuela was used for propaganda and advertising purposes.

One of the first animated short films in the country was the short "Dance of the Skeletons" from 1934 made by Efraín Gomes. In 1947 a short sequence was made based on the fables of "Tío Tigre and Tío Conejo" by the writer Antonio Arráiz. Made by Fernando Álvarez Sabater, Rafael Rivero Orama and Luis Mejía.

In Venezuela, the filmmaker José Castillo (1922-2019) was the main precursor of the animated industry in the country, he made several productions that earned him both national and international recognition. His works include: Conejín (1975); The Hiroshima Ant (1985), Party (2001) and Living in Freedom (2008).

Animation festivals

Animation festivals host both commercial feature films and short films of all kinds, and are the main means of dissemination for them.

International festivals

• International Animation Film Festival, Visual Effects and Video Games Animayo, Spain
• Annecy International Film Festival in France
• Animafest Zagreb in Croatia
• International Animation Film Festival in Stuttgart, Germany
• Anima - Brussels, Belgium
• International Animation Festival in Argentina
• Ottawa International Film Festival in Canada
• International Hiroshima Animation Film Festival in Japan
• Anima Mundi, Brazil
• Baixada Animada - Ibero-American Animation Film Exhibition in Brazil
• Summa3D - International animation 3D Short Films Award, Spain
• International Animation Festival Ajayu, Peru

Festivals and markets in Spain

• 3D Wire, in Segovia
• Quirino de la Animación Iberoamericana Awards in Santa Cruz de Tenerife (Spain)
• Animac Animac, in Lérida
• Animadrid, Madrid
• Animacor, in Córdoba
• Animabasauri, Basauri
• Anima't, at Sitges Film Festival
• ANIRMAU, in Lalin (Pontevedra)
• International Animation Film Festival, Visual Effects and Video Games Animayo, in Gran Canaria

Festivals and markets in Mexico

• Pixelatl - Festival of Animation, Video Games and Comic.
• CutOut Fest - International Festival of Animation and Digital Art.
• Animasivo - Festival Internacional de Animación de México.
• In Motion Fest - International Meeting of Entertainment and Digital Innovation of the City of Querétaro.
• Sublime - International meeting of creative businesses of animation industries, video games and visual effects (VFX).
• SMMX - Stop Motion Festival Mexico.
• Locomoción Fest - Locomoción Festival de Animación de la Ciudad de México.
• Iluma Fest - Event made by the Monterrey Technology in Puebla where the main theme is animation, folding and videogames.
• Creative Fest - Event with a section dedicated to animation and digital art.
• La Matatena - International Film Festival for Children, with its special focus on animation.
• CCD Connect - Recruitment and entrepreneurship in the audiovisual industry.

Animation festivals in the rest of Latin America

• LOOP - Festival Hispanoamericano de Animación & Videojuegos, in Colombia
• Animation to the Charter, in Caracas, Venezuela
• ANIMEC, Festival de Animación, in Quito, Ecuador
• ANIMA, Festival de Animación, in Córdoba, Argentina
• CARTÓN, Festival de Animación, Buenos Aires, Argentina