Animation, Sport and Culture by Paul Wells (auth.)

By Paul Wells (auth.)

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Barnett 1990:169) Journalist Richard Williams also uses the cartoon, but here in a more nuanced fashion, to describe the failings of England’s defence against Spain in an international football match: But this was a midwinter week in which to enjoy Robinho’s sleight of foot, Messi’s swiftness, Villa’s lovely composure as he reduced the England defence to a set of twisting and stumbling cartoon figures: the eternal pleasures of football bred in the warmer latitudes. 4 There is a tension here, then, between the authenticity of the footballing aesthetes and the seemingly comic actions of the England defenders, once more drawing upon the humorous connotations of the cartoon.

D. Ford, UK, 1923), in which some of the techniques described and illustrated in Inman’s publication Billiards: How to Play and Win were animated in the graphic style of the ‘Kineto War Maps’ (Dir: F. Percy Smith, UK, 1914) series, and echoed the popular illustration promoting the game. (These techniques were taken up more explicitly in Donald in Mathemagic Land (Dirs: Hamilton Luske, Wolfgang Reitherman, Les Clark, Joshua Meador, 44 Animation, Sport and Culture USA, 1959), particularly in explaining three cushion billiards, but also in relation to other games such as chess, basketball, baseball, football and the children’s pastime hopscotch).

As Perelman points out, too, Marey’s achievement has also been situated in a wider philosophical context by his colleague at the Collège de France, Henri Bergson, who viewed Marey’s sequential phases of movement in a fixed image, as a model by which the human perception of the entire movement might be comprehended: ‘In just the same way the thousands of successive positions of the runner are contracted into one sole symbolic attitude, which our eye perceives, which art reproduces, and which becomes for everyone the image of the running man’ (Perelman 2012:87).

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