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・ Arthur Davenport
・ Arthur Davenport (engineer)
・ Arthur David Beaty
・ Arthur David Hall III
・ Arthur David McCormick
・ Arthur David Ritchie
・ Arthur Davidson
・ Arthur Davidson (equerry)
・ Arthur Davidson (footballer)
・ Arthur Davidson (motorcycling)
・ Arthur Davidson (politician)
・ Arthur Davies
・ Arthur Davies (priest)
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Arthur Davis (animator)
・ Arthur Davis (cricketer)
・ Arthur Davis (gymnast)
・ Arthur Davison
・ Arthur Davison Ficke
・ Arthur Davys
・ Arthur Dawson
・ Arthur Dawson (footballer, born 1882)
・ Arthur Dawson (footballer, born 1907)
・ Arthur Day
・ Arthur Day (cricketer)
・ Arthur de Buyer Coal Mine
・ Arthur de Capell Brooke
・ Arthur de Carle Sowerby
・ Arthur de Gobineau


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Arthur Davis (animator) : ウィキペディア英語版
Arthur Davis (animator)

Arthur "Art" Davis (June 14, 1905 – May 9, 2000) was an animator and a director for Warner Brothers' Termite Terrace cartoon studio.
==Career==
Davis got his start at a young age at the New York studio of Max Fleischer, and is reputed to have been the first in-betweener in the animation industry. Another of his distinctions was that he tapped out the famous "bouncing ball" of the "Follow the Bouncing Ball" cartoons of the 1920s. While one of the Fleischer brothers played the ukulele, Davis would keep time with a wooden stick with a white thumbtack on the end, which was photographed and incorporated into the films as the actual moving ball. Later he was an animator for the Charles Mintz studio. While there, he helped create and develop Toby the Pup and Scrappy with fellow animators Dick Huemer and Sid Marcus. Davis would eventually be promoted to director and remained at the studio even after it became Screen Gems in 1940.
In 1942, Davis left Screen Gems along with Frank Tashlin for Warner Bros. Davis worked as an animator for Tashlin's department until 1946 when it was assumed by Robert McKimson. Later that same year, when Bob Clampett left to start his own studio, Davis took over Clampett's unit.
Davis directed a number of ''Looney Tunes'' and ''Merrie Melodies'' shorts, with a tone somewhere between those of Clampett and McKimson. He had a distinctive characteristic visual style, which can be seen as far back as Davis' Columbia shorts, in which the characters move from the foreground to the background, as well as from side to side, using all axes of the animation field. His department was shut down only three years later in 1949 when Warners was having a budget problem. Davis then was taken into Friz Freleng's unit, and served as one of Freleng's key animators for many years, until the studio closed.

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