Funny Animated Pictures Of Animals Biography
Source:- Google.com.pk
1906 J Stuart Blackton is credited with being the first to harness stop-motion film-making to basic animation in what is widely said to be the first animated film: Humorous Phases of Funny Faces. Blackton drew cartoon faces on a blackboard and filmed them, stopping the camera in order to erase one face and draw another, before filming the new drawing.
1917 Quirino Cristiani's satire El Apóstol (The Apostle), thought to be the first full-length animated movie, is released in Argentina. It ran at around 70 minutes and comprised 58,000 frames, but all known copies of the film were lost in a fire in 1926.
1937 Walt Disney's Snow White and the Seven Dwarfs is the first surviving full-length animated movie. It was also the first in colour, and marked the studio's feature-length debut. Disney's wife, Lillian, apparently tried to talk him out of it, saying: "No one's ever gonna pay a dime to see a dwarf picture."
1985 Studio Ghibli is founded in Japan. Its films span female-oriented fantasy (My Neighbour Totoro, Kiki's Delivery Service) to tougher subjects, such as second world war drama Grave of the Fireflies and the environmentally themed Pom Poko. The 2001 masterpiece Spirited Away wins an Oscar.
1995 Toy Story, the first entirely computer-generated 3D animation feature, is released; each frame took between four and 13 hours to complete. The toys, textures and locations are dazzling – although human skin and hair, which lag some way behind in the realism stakes, are kept largely out of sight.
The emergence of Dustin Hoffman in 1967 heralded the arrival of a new era of Hollywood stardom. Diminutive, wiry and unassuming, he was anything but the usual matinee idol, yet he quickly distinguished himself among the most popular and celebrated screen performers of his generation. A notoriously difficult talent famous for his battles with directors as well as his total immersion in his performances, Hoffman further battled against stereotypes by accepting roles which cast him firmly as an antihero, often portraying troubled, even tragic figures rarely destined for a happy ending. By extension, he broke new ground for all actors -- not only were stars no longer limited to heroic, larger-than-life characterizations, but in his wake virtually anyone, regardless of their seeming physical limitations, could attain success on the big screen. Born August 8, 1937 in Los Angeles, Hoffman originally studied to become a doctor, but later focused his attentions on acting, performing regularly at the Pasadena Playhouse alongside fellow aspirant Gene Hackman. Upon relocating to New York City, he worked a series of odd jobs, landing the occasional small television role and later touring in summer stock. Frustrated by his lack of greater success, Hoffman once even left acting to teach, but in 1960 he won a role in the off-Broadway production Yes Is for a Very Young Man. After 1961's A Cook for Mr. General, however, he continued to struggle, and did not reappear onstage for several years, in the meantime studying with Lee Strasberg at the Actors' Studio and becoming a dedicated Method actor. Finally, in 1964 Hoffman appeared in a string of theatrical projects including productions of Waiting for Godot and The Dumbwaiter. Two years later he won a Best Actor Obie for his work in The Journey of the Fifth Horse. In 1967 Hoffman made his film debut with a tiny role in the feature The Tiger Makes Out, a similarly brief appearance in Un Dollaro per Sette Vigliachi followed later that same year, as did a highly-acclaimed turn in the theatrical farce Eh? It was here that he was first spotted by director Mike Nichols, who cast him in the lead role in his 1967 black comedy The Graduate. Though 30 at the time of filming, Hoffman was perfectly cast as an alienated college student, and his work won him not only an Oscar nomination but also made him a hugely popular performer with the youth market. His status as a burgeoning counterculture hero was solidified thanks to his work in John Schlesinger's 1969 Academy Award winner Midnight Cowboy, which earned Hoffman a second Oscar bid. While the follow-up, the romance John and Mary, was a disappointment, in 1970 he starred in Arthur Penn's Little Big Man, delivering a superb portrayal of an Indian fighter -- a role which required him to age 100 years. Directed by his longtime friend Ulu Grosbard, 1971's Who Is Harry Kellerman and Why Is He Saying Those Terrible Things About Me? was Hoffman's first outright failure. He next starred in Sam Peckinpah's harrowing Straw Dogs, a film which earned harsh criticism during its original release but which, like much of Peckinpah's work, was later the subject of much favorable reassessment. In 1973 Hoffman co-starred with Steve McQueen in the prison drama Papillon, which returned him to the ranks of box-office success before he starred as the legendary stand-up comedian Lenny Bruce in Bob Fosse's 1974 biography Lenny, a stunning portrayal which earned him a third Academy Award nomination. Another real-life figure followed as Hoffman portrayed Carl Bernstein opposite Robert Redford's Bob Woodward in All the President's Men, Alan J. Pakula's riveting docudrama on the Watergate break-in. Next, Hoffman reteamed with director Schlesinger for 1976's Marathon Man, which cast him alongside Laurence Olivier and scored another major hit. The1978 Straight Time, a pet project helmed by Grosbard, was critically acclaimed but a financial disappointment, and 1979's Agatha pleased neither audiences nor the media. The 1979 domestic drama Kramer vs. Kramer, on the other hand, was a major success with both camps, and Hoffman's portrayal of a divorced father finally earned him an Academy Award on his fourth attempt at the prize. He also won a Golden Globe, as well as honors from the New York and Los Angeles critics. Hoffman's next film, the Sydney Pollack-helmed 1982 comedy Tootsie, was even more successful at the box office. Starring as an out-of-work actor who dresses in drag to win a role on a soap opera, he earned yet another Oscar nomination as the film grossed nearly 100 million during its theatrical release. After a long absence, Hoffman returned to the stage in 1984 to portray Willy Loman in a Broadway revival of Death of a Salesman.
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