A Fantasy

A few years ago I had a real passion for short films, seeking them out at festivals and on television, trying to see those considered as established and also those from first time or local artists. This fell off for some reason and I found myself watching more television which is not a problem but I did decide recently I should take the time to watch short films when I have the chance. Fantasmagorie was the one of the shorts I decided to watch, partly for the historical value but also for the good things I heard about it generally.

Watching it once was not enough though, because it is very short but also moves with real speed and energy. The animation consists of chalk drawings on a black background and without any narrative context they flow across the screen, seamlessly turning from one thing into another but making a sort of sense while doing so. Every second of it is creative and clever and engaging and, most importantly, a real joy to watch. The age of the film shows in the quality of the picture (or at least it did in the version I saw) but nowhere else. There is a real pleasure to it, a sense of wonder and excitement in the animation that has stayed with it for over a century.

A great little animation; it has historical value but you will only think of that afterwards because during your several viewings I suspect you'll be too busy keeping up and enjoying the passion and flow that the images have.

Émile Cohl, a French caricaturist, is often described as "The Father of the Animated Cartoon." Considered the first fully-animated film, his two-minute 1908 film 'Fantasmagorie' {alternatively, in English: 'A Fantasy,' 'Black and White,' or 'Metamorphosis'} is made up on approximately 700 double-exposed drawings, using what is known as a "chalk-line effect" (filming black lines on white paper, then reversing the negative to give the impression of white chalk on a black chalkboard), a technique probably borrowed from early animator James Stuart Blackton. A fast-paced, confusing and almost-surreal short film, 'Fantasmagorie' is loaded with dozens of tiny seconds-long scenes, which rapidly metamorphosise into the next, possibly a stylistic tribute to the short-lived, long-forgotten Incoherent Movement of the 1880s, of which Cohl had been a part. The title of the film itself is taken from the word "fantasmograph," which referred to a magic lantern that could project ghostly images across walls.

Not following any standard narrative, 'Fantasmagorie' is really quite difficult to follow. The film starts with a hand quickly sketching a dangling clown, which instantly transforms into a large man in an elevator, which materialises into a man in a cinema whose view is suddenly blocked by a woman with a tall feathery hat. This scene, probably the longest single sequence at about 20 seconds, shows the man desperately trying to glimpse the screen again by peeling away the feathers of the hat, only for the women's head to suddenly expand into a large bubble for the next scene transition. The remainder of the film is a hectic jumble of jumping about, fishing, sword-fighting, canons, flowers, milk bottles, elephants turning into houses and, for the grand finale, a character departing into the left-hand side of the screen on a horse.

I found 'Fantasmagorie' to be quite an interesting early short, though it moved much, much too quickly to be solidly enjoyable (J. Stuart Blackton made a much more accessible film two years earlier with 'Humorous Phases of Funny Faces'). Nonetheless, the film carries great historical importance in the field of animation, and Cohl's style undoubtedly influenced such animators as Winsor McCay, perhaps most famous for his 1914 animated short film, 'Gertie the Dinosaur.'

This is a pretty neat little film. It appears to be chalk on a blackboard. It has a little plot with a man trying to watch a movie when a woman with a huge hat sits in front of him. But there are other things that help make the two minutes memorable.

What a film this is! The film is under two minutes, and I can't remember half of it. I seem to remember a woman with a very large hat getting it pulled off, pants turning into umbrellas, men getting stabbed an dismembered, but still walking around, houses turning into elephants, and many other images. Cohl seemed to want to include every image he could think of in the film. I'm sure he had no idea of the legacy he would leave. In fact, judging by the showoffy nature of the film, it's almost as if, at the time, Cohl thought he might be one of the only people on the planet who would ever be able to make drawings move like that. Even today, with all the technological advances in the field of animation, "Fantasmagorie" is entertaining. Despite the fact that it has no plot or real point except to show off what animation can do, and despite the relative crudeness of the drawings, its relentless, violent energy, and short running time make it a joy to watch. I wouldn't expect non-animation buffs to care much about it however. They'd probably enjoy it, but would have hard time understanding the fuss.

Considered the first fully animated film, Emile Cohl's 1908 "Fantasmagorie" departed from J. Stuart Blackton's 1906 "Humorous Phases" by showing a total hand-drawn movie rather than using a combination of live action, cut-out animation as well as hand-drawn scenes.

Cohl was inspired by Blackton's work in reflecting white lines on a black background. However, while Blackton used an actual blackboard to draw his figures, Cohl used 700 paper drawings, 8 drawings for each second, and then shot them onto negative film. He would shoot two frames for each drawing while his film speed was 16 frames per second. Cohl labored 5 months to create this 1 minute, 20 second cartoon. The viewer has to see this movie several times to catch the quick movements of morphings from one set of figures to the next.