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695:"a monumental work in the history of the animated film". Though it was admired by his animation contemporaries, Canemaker wrote that it "did not revolutionize the film cartoons of its time" as McCay's skills were beyond what animators of the time were able to follow. In the era that followed, animation studios made occasional non-fiction films, but most were comedic shorts lasting no more than seven minutes. Animation continued in its role of supporting feature films rather than as the main attraction, and rarely received reviews.
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551:'s registration pegs, used to keep cels aligned when photographed. Hurd had patented the cel method in 1914; it saved work by allowing dynamic drawings to be drawn on one or more layers, which could be laid over a static background layer, relieving animators of the tedium of retracing static images onto drawing after drawing. McCay adopted the cel method beginning with
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632:"realistic graphic style". The film has a dark mood and strong propagandist feel. It depicts the terrifying fates of the passengers, such as the drowning of children and human chains of passengers jumping to their deaths. The artwork is highly detailed, the animation fluid and naturalistic. McCay used
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The animation combines editorial cartooning techniques with live-action-like sequences, and is considered McCay's most realistic effort; the intertitles emphasized that the film was a "historical record" of the event. McCay animated the action in what animation historian Donald
Crafton describes as a
519:
took twenty-two months to complete. McCay had assistance from his neighbor, artist John
Fitzsimmons, and from Cincinnati cartoonist William Apthorp "Ap" Adams, who took care of layering the cels in proper sequence for shooting. Fitzsimmons was responsible for a sequence of waves, sixteen frames to be
639:
McCay made stylistic choices to add emotion to the "historical record", as in the anxiety-inducing shots of the submarines lurking beneath the surface, and abstract styling of the white sheets of sky and sea, vast voids which engorge themselves on the drowning bodies. Animation historian Paul Wells
278:
719:, and a film about the Americans' role in World War I. Later in life, McCay at times publicly expressed his dissatisfaction with the animation industry as it had become—he had envisioned animation as an art, and lamented how it had become a trade. According to Canemaker, it was not until
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technology. McCay and his assistants spent twenty-two months making the film. His subsequent animation output suffered setbacks, as the film was not as commercially successful as his earlier efforts, and Hearst put increased pressure on McCay to devote his time to editorial drawings.
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himself. The cels were an added expense, but greatly reduced the amount of drawing necessary in contrast to McCay's earlier methods. The cels used were thicker than those that later became industry standard, and had a "tooth", or rough surface, that could hold pencil,
332:, which sinks slowly into the deep as more passengers fall off its edges, and the ship submerges amid scenes of drowning bodies. The liner vanishes from sight, and the film closes with a mother struggling to keep her baby above the waves. An intertitle declares: "
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After 1921, when Hearst learned McCay devoted more of his time to animation than to his newspaper illustrations, Hearst required McCay to give up animation. He had plans for several animation projects that never came to fruition, including a collaboration with
366:, and attracted large crowds with his ability to draw quickly in public. He began working as a newspaper illustrator full-time in 1898, and in 1903 began drawing comic strips. His greatest comic strip success was the children's fantasy comic strip
531:
an assistant painstakingly traced and retraced the backgrounds thousands of times. Rival animators developed a number of methods to reduce the workload and speed production to meet the increasing demand for animated films. Within a few years of
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ideas that had begun circulating in the years before the film's release. Scholar Ulrich Merkl suggests that as a newspaperman, McCay was likely aware of Freud's widely reported work, though McCay never publicly acknowledged such an influence.
297:
boast of McCay as "the originator and inventor of
Animated Cartoons", and of the 25,000 drawings needed to complete the film. McCay is shown working with a group of anonymous assistants on "the first record of the sinking of the
587:, and crayon, as well as ink lines. The amount of rendering caused the cels to buckle, which made it difficult to keep them aligned for photographing; Fitzsimmons addressed this problem using a modified loose-leaf binder.
594:
was registered for copyright on July 19, 1918, and was released by Jewel
Productions who were reported to have acquired it for the highest price paid for a one-reel film up to that time. It was included as part of a
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from Hearst's Berlin correspondent August F. Beach, who was in London at the time of the disaster and was the first reporter at the scene. The film was the first attempt at a serious, dramatic work of animation.
37:
520:
cycled over McCay's drawings. McCay provided illustrations during the day for the newspapers of
William Randolph Hearst, and spent his off hours at home drawing the cels for the film, which he took to
274:
223:. McCay was required to illustrate anti-war and anti-British editorial cartoons for Hearst's papers. In 1916, McCay rebelled against his employer's stance and began work on the patriotic
730:
as "a seminal moment in the development of the animated film" for its combination of documentary style with propagandist elements, and considered it an example of animation as a form of
431:(1912), naturalistically shows a giant mosquito draw blood from a sleeping man until it burst. McCay followed this with a film that became an interactive part of his
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401:
362:–1934) produced prodigiously detailed and accurate drawings since early in life. He earned a living as a young man drawing portraits and posters in
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607:. Its première in England followed in May 1919. Advertisements called it "[t]he world's only record of the crime that shocked humanity".
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1972:
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on May 7, 1915, during a voyage from New York; 128 Americans were among the 1,198 who lost their lives. Newspapers owned by McCay's employer
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2320:
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upon its completion in 1906. McCay displayed a fondness for it, and featured it in the episode for
September 28, 1907, of his comic strip
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McCay said it took him about eight weeks to produce eight seconds' worth of film. The claimed 25,000 drawings filled 900 feet of film.
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brought McCay about $ 80,000. McCay made at least seven further films, only three of which are known to have seen commercial release.
415:
his son brought home, McCay said he "came to see the possibility of making moving pictures" of his cartoons. His first animated film,
193:. At twelve minutes, it has been called the longest work of animation at the time of its release. The film is the earliest surviving
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2527:
2408:
2163:
Callahan, David (September–October 1988). "Cel
Animation: Mass Production and Marginalization in the Animated Film Industry".
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during World War I, and in April 1915 the German government issued a warning that it would target
British civilian ships. The
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praised the film, especially the scene in which the first torpedo explodes, which it called "more than reality". The
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Different accounts have given McCay's birth year as 1867, 1869, and 1871. His birth records are not extant.
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propaganda, and is often called the longest work of animation of its time. The film is likely the earliest
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187:
20:
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215:; 128 Americans were among the 1,198 dead. The event outraged McCay, but the newspapers of his employer
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in the confusion. The liner tilts from one side to the other and passengers are tossed into the ocean.
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John
Canemaker dates the first showing as July 20; Earl Theisen dates the première as August 15, 1918.
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2705:
1929:
723:'s feature films in the 1930s that the animation industry caught up with McCay's level of technique.
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1704:
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492:. McCay was as well, but was required to illustrate anti-war and anti-British editorials by editor
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The film opens with a live-action prologue in which McCay busies himself studying a picture of the
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The sinking itself was never photographed. McCay said that he gathered background details on the
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427:
417:
238:
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216:
734:. Steve Bottomore called the film "[t]he most significant cinematic version of the [
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2255:(3). University of Texas Press on behalf of the Society for Cinema & Media Studies: 56–72.
2247:
Mikulak, Bill (Spring 1997). "Mickey Meets
Mondrian: Cartoons Enter the Museum of Modern Art".
2209:
Hoffer, Tom (Spring 1976). "From Comic Strips to Animation: Some Perspective on Winsor McCay".
2115:
743:
198:
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would make the film 26 minutes long, not 12, assuming that one drawing was produced per frame.
2394:
2184:
DelGaudio, Sybil (1997). "If Truth Be Told, Can 'Toons Tell It? Documentary and Animation".
1901:
684:
372:, which he began in 1905. In 1906, McCay began performing on the vaudeville circuit, doing
194:
2232:"The Waking Life of Winsor McCay: Social Commentary in A Pilgrim's Progress by Mr. Bunion"
2231:
2106:
Theisen, Earl (1967) . "The History of the Animated Cartoon". In Fielding, Raymond (ed.).
8:
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496:. In 1916, McCay rebelled against his employer's stance and began to make the pro-war
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Drawing the Line: The Untold Story of the Animation Unions from Bosko to Bart Simpson
2012:
1990:
1980:
1958:
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2065:(.doc). Catalog of episodes & text of the book: Ulrich Merkl. pp. 552–561.
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s release, it became near-universal practice in animation studios to use American
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to simulate the feel of a newsreel, which reinforced the film's realistic feel.
2295:"Impression and Expression: Rethinking the Animated Image Through Winsor McCay"
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1796:
Bringing Up Father: From Sea to Shining Sea the Cross-Country Tour of 1939–1940
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548:
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A lost animated film from Britain depicted in animation the sinkings of the
833:
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curbed McCay's animation work to focus his employee on editorial cartooning.
488:. His own papers' readers were increasingly pro-war in the aftermath of the
19:
This article is about the 1918 animated film. For the historical event, see
2417:
2063:
The Complete Dream of the Rarebit Fiend (1904–1913) by Winsor McCay 'Silas'
1864:
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649:
571:
465:, where Bunion declares it "the monster boat that has smashed the record".
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58:
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and featured on the cover of an issue of Universal's in-house publication
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2004:
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2321:"Celebrating Little Nemo by Winsor McCay; his 'demons' made him do it"
1986:
The Way of the Ship: America's Maritime History Reenvisoned, 1600–2000
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441:(1914), McCay commanded his animated dinosaur with a whip on stage.
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376:—performances during which he drew in front of a live audience.
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857:. The film was released in 1918 and may have preceded McCay's.
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was not a commercial success; after a few years in theaters,
1700:
The Earwig's Tail: A Modern Bestiary of Multi-Legged Legends
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was the first film McCay made using the new, more efficient
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The film followed McCay's earlier successes in animation:
2110:
A Technological History of Motion Pictures and Television
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563:
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257:
1651:
Hollywood Cartoons: American Animation in Its Golden Age
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downplayed the tragedy, as Hearst was opposed to the
461:, and again in the episode for November 10, 1908, of
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slices through the waters and fires a torpedo at the
1971:
1894:
Kundert-Gibbs, John; Kundert-Gibbs, Kristin (2009).
1486:
1285:
1220:
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219:downplayed the event, as Hearst was opposed to the
2107:
1868:
1569:
644:in the frames filled viewers with anxiety through
421:(1911), was composed of four thousand drawings on
815:are close in length, but the animated portion in
805:The running times of surviving copies of McCay's
2617:
2275:
1775:(3 ed.). CRC Press (Taylor & Francis).
1398:
770:Bill Mikulak notes that at 25,000 frames at 16
336:who fired the shot was decorated for it by the
2402:
2057:(2007). "Some archetypal symbolic aspects of
1841:
1048:
837:, whose first screening was November 9, 1917.
197:and serious, dramatic work of animation. The
1871:The Art of the Funnies: An Aesthetic History
746:selected the film for preservation in 2017.
2114:. University of California Press. pp.
527:McCay's working methods were laborious. On
2696:United States National Film Registry films
2671:Documentary films about maritime disasters
2409:
2395:
2217:(2). University of Illinois Press: 23–32.
2211:Journal of the University Film Association
1820:Before Mickey: The Animated Film 1898–1928
248:(1914). McCay drew these earlier films on
36:
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726:Animation historian Paul Wells described
470:employed submarines in the North Atlantic
342:And yet they tell us not to hate the Hun.
2229:
2171:(3). Indiana University Press: 223–228.
2162:
1918:
1897:Action!: Acting Lessons for CG Animators
1539:
1413:
1192:
1180:
1168:
664:
614:
557:
378:
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186:re-creating the never-photographed 1915
49:engulfed in smoke after being torpedoed.
2651:American animated black-and-white films
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2528:Little Nemo: Adventures in Slumberland
2208:
2084:Animating Space: From Mickey to Wall-E
2053:
1946:
1863:
1551:
1480:
1316:Kundert-Gibbs & Kundert-Gibbs 2009
1291:
1156:
1036:
819:is significantly shorter than that of
578:As with all his films, McCay financed
201:selected it for preservation in 2017.
16:1918 silent animated short documentary
2661:American World War I propaganda films
2390:
2132:
2003:
1508:
1492:
1044:
511:
463:A Pilgrim's Progress by Mister Bunion
293:as a model for his film-in-progress.
2025:
1575:
227:on his own time with his own money.
2666:American animated documentary films
547:technology, combined with Canadian
13:
2342:
2276:Motography staff (July 13, 1918).
2236:International Journal of Comic Art
1221:Roland, Bolster & Keyssar 2008
42:A still from the film showing the
14:
2737:
2646:Black-and-white documentary films
2372:
2319:Hubbard, Amy (October 15, 2012).
188:sinking of the British liner RMS
2603:
2591:
2459:
2416:
2311:
2716:Surviving American silent films
2681:Films set in the Atlantic Ocean
2278:"Pays Big Price for One-Reeler"
2230:McKinney, Kirsten (July 2015).
2136:Animation: Genre and Authorship
1877:University Press of Mississippi
840:
799:
786:
777:
764:
687:. McCay's biographer, animator
2676:Films directed by Winsor McCay
2356:. Edinburgh University Press.
1773:Winsor McCay: His Life and Art
1749:Winsor McCay: His Life and Art
1632:
755:
1:
2631:1910s American animated films
2552:Little Nemo: The Dream Master
2293:McKenna, Daniel (Fall 2013).
2009:Adult Comics: An Introduction
1920:Marshall, Samuel Lyman Atwood
1725:The Titanic and Silent Cinema
863:
738:] disaster". A review in
356:
347:
2501:The Sinking of the Lusitania
2380:The Sinking of the Lusitania
2089:University Press of Kentucky
2037:University Press of Kentucky
821:The Sinking of the Lusitania
813:The Sinking of the Lusitania
728:The Sinking of the Lusitania
701:The Sinking of the Lusitania
697:The Sinking of the Lusitania
693:The Sinking of the Lusitania
677:The Sinking of the Lusitania
592:The Sinking of the Lusitania
580:The Sinking of the Lusitania
568:The Sinking of the Lusitania
553:The Sinking of the Lusitania
517:The Sinking of the Lusitania
451:briefly held the record for
283:The Sinking of the Lusitania
254:The Sinking of the Lusitania
167:The Sinking of the Lusitania
31:The Sinking of the Lusitania
21:Sinking of the RMS Lusitania
7:
2656:American silent short films
2155:
2061:". In Merkl, Ulrich (ed.).
1843:Dreams of the Rarebit Fiend
1825:University of Chicago Press
1722:Bottomore, Stephen (2000).
1654:. Oxford University Press.
405:American entry into the war
264:
10:
2742:
2636:1910s animated short films
2441:Dream of the Rarebit Fiend
2059:Dream of the Rarebit Fiend
1672:Animation: The Whole Story
1669:Beckerman, Howard (2003).
458:Dream of the Rarebit Fiend
369:Little Nemo in Slumberland
18:
2562:
2511:
2468:
2457:
2424:
1989:. John Wiley & Sons.
1930:Houghton Mifflin Harcourt
1003:, pp. 38, 40, 43–44.
823:. An Argentine animator,
794:The Moving Picture Weekly
605:The Moving Picture Weekly
328:A second blast rocks the
149:
141:
131:
108:
96:
78:
64:
54:
35:
30:
2520:Dream of a Rarebit Fiend
2194:Indiana University Press
1950:Lusitania: Saga and Myth
1817:Crafton, Donald (1993).
1771:Canemaker, John (2018).
1705:Harvard University Press
1637:
1566:, pp. 197–198, 254.
831:70-minute animated film
827:, reportedly produced a
749:
715:, a musical film called
646:psychological projection
610:
498:Sinking of the Lusitania
225:Sinking of the Lusitania
221:U.S. joining World War I
100:Jewel Productions (unc.)
2485:How a Mosquito Operates
2081:Telotte, J. P. (2010).
1790:Canwell, Bruce (2009).
713:George Randolph Chester
679:was noted as a work of
670:William Randolph Hearst
482:William Randolph Hearst
428:How a Mosquito Operates
313:. After some time, the
239:How a Mosquito Operates
217:William Randolph Hearst
208:torpedoed and sank the
117:July 20, 1918
2721:Silent adventure films
2641:1918 documentary films
1947:Ramsay, David (2001).
1728:. The Projection Box.
744:National Film Registry
673:
628:
575:
453:largest passenger ship
408:
396:in 1915; the incident
286:
199:National Film Registry
170:(1918) is an American
2353:Animation And America
1902:John Wiley & Sons
1399:Motography staff 1918
668:
618:
561:
486:U.S. entering the war
382:
305:The liner passes the
281:
87:Animation assistance:
2701:1910s disaster films
2350:Wells, Paul (2002).
2139:. Wallflower Press.
2133:Wells, Paul (2002).
1752:(Revised ed.).
1614:, pp. 199, 239.
1602:, pp. 198, 217.
1330:, pp. 188, 193.
1235:, pp. 207, 209.
685:animated documentary
661:Reception and legacy
524:to be photographed.
195:animated documentary
2711:1918 animated films
2493:Gertie the Dinosaur
2433:Little Sammy Sneeze
1977:Bolster, W. Jeffrey
1677:Skyhorse Publishing
1542:, pp. 227–228.
1483:, pp. 552–553.
1079:, pp. 131–132.
817:Gertie the Dinosaur
808:Gertie the Dinosaur
529:Gertie the Dinosaur
438:Gertie the Dinosaur
245:Gertie the Dinosaur
71:Production manager:
1981:Keyssar, Alexander
1955:Chatham Publishing
1847:Dover Publications
1049:Dover editors 1973
796:for July 27, 1918.
674:
629:
576:
512:Production history
444:The British liner
409:
387:torpedoed and sank
287:
182:. It is a work of
2686:Films set in 1915
2579:
2578:
2363:978-1-85331-203-8
2326:Los Angeles Times
2146:978-1-903364-20-8
2125:978-0-520-00411-5
2098:978-0-8131-2586-2
2077:(on included DVD)
2072:978-3-00-020751-8
2046:978-0-8131-2407-0
2018:978-0-415-04419-6
1996:978-0-470-13600-3
1964:978-1-86176-170-5
1939:978-0-618-05686-6
1911:978-0-470-59605-0
1886:978-0-87805-612-5
1865:Harvey, Robert C.
1856:978-0-486-21347-7
1834:978-0-226-11667-9
1809:978-1-60010-508-1
1763:978-0-8109-5941-5
1735:978-1-903000-00-7
1714:978-0-674-03540-9
1695:Berenbaum, May R.
1686:978-1-58115-301-9
1661:978-0-19-516729-0
1554:, pp. 27–28.
1459:, pp. 49–50.
1306:, pp. 10–14.
991:, pp. 23–24.
825:Quirino Cristiani
772:frames per second
717:The Barnyard Band
634:alternating shots
597:Universal Studios
522:Vitagraph Studios
500:in his own time.
425:. His next film,
307:Statue of Liberty
279:
163:
162:
2733:
2726:Silent war films
2706:1918 short films
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1718:
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1646:Barrier, Michael
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621:German submarine
538:
411:Inspired by the
361:
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280:
206:German submarine
124:
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92:William A. Adams
90:John Fitzsimmons
40:
28:
27:
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2345:
2343:Further reading
2340:
2331:
2329:
2314:
2309:
2261:10.2307/1225675
2158:
2153:
2147:
2126:
2099:
2073:
2047:
2019:
1997:
1965:
1940:
1912:
1887:
1857:
1835:
1810:
1783:
1764:
1744:Canemaker, John
1736:
1715:
1687:
1662:
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1507:, p. 161;
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1246:
1239:
1231:
1227:
1219:, p. 186;
1215:
1211:
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1199:
1191:
1187:
1183:, pp. 7–9.
1179:
1175:
1167:
1163:
1155:
1151:
1143:
1139:
1131:, p. 138;
1127:
1123:
1115:
1111:
1103:
1099:
1087:
1083:
1075:
1071:
1063:
1059:
1051:, p. vii;
1047:, p. 134;
1035:
1031:
1023:
1019:
1011:
1007:
999:
995:
987:
983:
975:
971:
963:
954:
946:, p. 196;
942:
935:
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887:
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870:
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769:
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536:
514:
494:Arthur Brisbane
359:
350:
311:New York Harbor
269:
267:
134:
127:
120:
118:
111:
103:Universal Films
101:
91:
89:
85:
74:John D. Tippett
73:
69:
50:
24:
17:
12:
11:
5:
2739:
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2374:
2373:External links
2371:
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2344:
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2310:
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2249:Cinema Journal
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2055:Taylor, Jeremy
2051:
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2001:
1995:
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1944:
1938:
1916:
1910:
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1800:IDW Publishing
1792:Mullaney, Dean
1787:
1782:978-1138578876
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1691:
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1639:
1636:
1634:
1631:
1629:
1628:
1626:, p. 298.
1624:Canemaker 2018
1616:
1612:Canemaker 2005
1604:
1600:Canemaker 2005
1592:
1590:, p. 198.
1588:Canemaker 2005
1580:
1568:
1564:Canemaker 2005
1556:
1544:
1532:
1530:, p. 197.
1528:Canemaker 2005
1513:
1511:, p. 116.
1505:Bottomore 2000
1497:
1495:, p. 116.
1485:
1473:
1461:
1449:
1447:, p. 117.
1437:
1418:
1416:, p. 227.
1403:
1391:
1389:, p. 161.
1387:Bottomore 2000
1368:
1351:
1349:, p. 193.
1347:Canemaker 2005
1332:
1328:Canemaker 2005
1320:
1308:
1296:
1284:
1269:
1252:
1250:, p. 190.
1248:DelGaudio 1997
1237:
1233:Canemaker 2005
1225:
1223:, p. 264.
1217:Canemaker 2005
1209:
1207:, p. 186.
1205:Canemaker 2005
1197:
1195:, p. 166.
1185:
1173:
1161:
1149:
1147:, p. 175.
1145:Canemaker 2005
1137:
1129:Berenbaum 2009
1121:
1119:, p. 160.
1117:Canemaker 2005
1109:
1107:, p. 157.
1105:Canemaker 2005
1097:
1095:, p. 157.
1093:Canemaker 2005
1089:Beckerman 2003
1081:
1077:Canemaker 2005
1069:
1065:Canemaker 2005
1057:
1039:, p. 21;
1029:
1025:Canemaker 2005
1017:
1013:Canemaker 2005
1005:
1001:Canemaker 2005
993:
989:Canemaker 2005
981:
977:Canemaker 2005
969:
967:, p. 116.
952:
950:, p. 116.
944:Canemaker 2005
933:
931:, p. 196.
929:Canemaker 2005
918:
916:, p. 195.
914:Canemaker 2005
897:
885:
883:, p. 188.
881:Canemaker 2005
867:
865:
862:
860:
859:
839:
798:
785:
776:
763:
753:
751:
748:
689:John Canemaker
662:
659:
642:negative space
640:suggested the
612:
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513:
510:
349:
346:
266:
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178:by cartoonist
161:
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97:Distributed by
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15:
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2714:
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2702:
2699:
2697:
2694:
2692:
2691:RMS Lusitania
2689:
2687:
2684:
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2679:
2677:
2674:
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2549:
2547:(arcade game)
2546:
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2537:
2533:
2530:
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2522:
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2517:
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2312:Other sources
2304:
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2034:
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2024:
2020:
2014:
2011:. Routledge.
2010:
2006:
2002:
1998:
1992:
1988:
1987:
1982:
1978:
1974:
1970:
1966:
1960:
1956:
1952:
1951:
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1647:
1643:
1642:
1625:
1620:
1613:
1608:
1601:
1596:
1589:
1584:
1578:, p. 36.
1577:
1572:
1565:
1560:
1553:
1548:
1541:
1540:Callahan 1988
1536:
1529:
1524:
1522:
1520:
1518:
1510:
1506:
1501:
1494:
1489:
1482:
1477:
1471:, p. 50.
1470:
1465:
1458:
1453:
1446:
1441:
1435:, p. 49.
1434:
1429:
1427:
1425:
1423:
1415:
1414:Callahan 1988
1410:
1408:
1401:, p. 74.
1400:
1395:
1388:
1383:
1381:
1379:
1377:
1375:
1373:
1366:, p. 71.
1365:
1360:
1358:
1356:
1348:
1343:
1341:
1339:
1337:
1329:
1324:
1318:, p. 46.
1317:
1312:
1305:
1300:
1294:, p. 32.
1293:
1288:
1282:, p. 85.
1281:
1276:
1274:
1267:, p. 84.
1266:
1261:
1259:
1257:
1249:
1244:
1242:
1234:
1229:
1222:
1218:
1213:
1206:
1201:
1194:
1193:Marshall 1964
1189:
1182:
1181:McKinney 2015
1177:
1171:, p. 13.
1170:
1169:McKinney 2015
1165:
1159:, p. 25.
1158:
1153:
1146:
1141:
1135:, p. 54.
1134:
1130:
1125:
1118:
1113:
1106:
1101:
1094:
1090:
1085:
1078:
1073:
1067:, p. 97.
1066:
1061:
1055:, p. 19.
1054:
1050:
1046:
1042:
1038:
1033:
1027:, p. 60.
1026:
1021:
1015:, p. 47.
1014:
1009:
1002:
997:
990:
985:
979:, p. 22.
978:
973:
966:
961:
959:
957:
949:
945:
940:
938:
930:
925:
923:
915:
910:
908:
906:
904:
902:
895:, p. 17.
894:
889:
882:
877:
875:
873:
868:
856:
855:
849:
843:
836:
835:
830:
826:
822:
818:
814:
810:
809:
802:
795:
792:The issue of
789:
780:
773:
767:
758:
754:
747:
745:
741:
737:
733:
729:
724:
722:
718:
714:
710:
704:
702:
698:
694:
690:
686:
682:
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671:
667:
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655:
651:
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643:
637:
635:
626:
623:spies on the
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207:
202:
200:
196:
192:
191:
185:
181:
177:
173:
169:
168:
159:
156:with English
155:
152:
148:
145:United States
144:
140:
136:
130:
116:
115:
113:
107:
104:
99:
95:
88:
84:
81:
77:
72:
67:
63:
60:
57:
53:
48:
47:
39:
34:
29:
26:
22:
2555:(video game)
2550:
2542:
2534:
2526:
2518:
2500:
2499:
2491:
2483:
2475:
2447:
2439:
2431:
2425:Comic strips
2418:Winsor McCay
2379:
2352:
2332:December 15,
2330:. Retrieved
2324:
2302:
2298:
2285:
2281:
2252:
2248:
2239:
2235:
2214:
2210:
2189:
2186:Film History
2185:
2168:
2165:Film History
2164:
2135:
2109:
2083:
2062:
2058:
2031:
2008:
2005:Sabin, Roger
1985:
1973:Roland, Alex
1949:
1924:
1896:
1870:
1842:
1819:
1795:
1772:
1754:Abrams Books
1748:
1724:
1699:
1671:
1650:
1619:
1607:
1595:
1583:
1571:
1559:
1547:
1535:
1500:
1488:
1476:
1469:Telotte 2010
1464:
1457:Telotte 2010
1452:
1445:Crafton 1993
1440:
1433:Telotte 2010
1394:
1364:Mikulak 1997
1323:
1311:
1304:Barrier 2003
1299:
1287:
1280:Theisen 1933
1265:Theisen 1933
1228:
1212:
1200:
1188:
1176:
1164:
1152:
1140:
1133:Telotte 2010
1124:
1112:
1100:
1084:
1072:
1060:
1053:Canwell 2009
1041:Hubbard 2012
1032:
1020:
1008:
996:
984:
972:
965:Crafton 1993
948:Crafton 1993
893:McKenna 2013
888:
853:
847:
842:
832:
820:
816:
812:
806:
801:
793:
788:
779:
766:
757:
739:
735:
727:
725:
716:
708:
705:
700:
696:
692:
676:
675:
650:introjection
638:
630:
624:
604:
591:
589:
579:
577:
572:Winsor McCay
570:, signed by
567:
562:An original
552:
533:
528:
526:
516:
515:
504:
502:
497:
489:
473:
468:The Germans
467:
462:
456:
447:
443:
436:
426:
416:
410:
392:
367:
364:dime museums
353:Winsor McCay
351:
341:
329:
327:
318:
304:
299:
290:
288:
282:
253:
243:
242:(1912), and
237:
231:
229:
224:
211:
203:
189:
180:Winsor McCay
166:
165:
164:
133:Running time
110:Release date
86:
83:Winsor McCay
79:Animation by
70:
68:Winsor McCay
59:Winsor McCay
45:
25:
2536:Slumberland
2512:Adaptations
2477:Little Nemo
2449:Little Nemo
2196:: 189–199.
1925:World War I
1633:Works cited
1552:Hoffer 1976
1481:Taylor 2007
1292:Hoffer 1976
1157:Ramsay 2001
1037:Harvey 1994
811:(1914) and
709:Jungle Imps
549:Raoul Barré
418:Little Nemo
398:contributed
374:chalk talks
360: 1869
309:and leaves
295:Intertitles
233:Little Nemo
204:In 1915, a
158:intertitles
65:Produced by
55:Directed by
2626:1918 films
2620:Categories
2299:Synoptique
2282:Motography
1953:. London:
1509:Wells 2002
1493:Wells 2002
1045:Sabin 1993
864:References
834:El Apóstol
740:The Cinema
435:shows: in
433:vaudeville
423:rice paper
413:flip books
348:Background
250:rice paper
184:propaganda
176:short film
137:12 minutes
121:1918-07-20
2598:Animation
2570:Bob McCay
2027:Sito, Tom
1576:Sito 2006
848:Lusitania
736:Lusitania
732:Modernism
691:, called
625:Lusitania
541:Earl Hurd
505:Lusitania
490:Lusitania
478:torpedoed
474:Lusitania
448:Lusitania
393:Lusitania
330:Lusitania
319:Lusitania
300:Lusitania
291:Lusitania
212:Lusitania
190:Lusitania
174:animated
46:Lusitania
2288:(2): 74.
2223:20687319
2156:Journals
2029:(2006).
2007:(1993).
1983:(2008).
1922:(1964).
1867:(1994).
1849:. 1973.
1746:(2005).
1697:(2009).
1648:(2003).
829:now-lost
654:Freudian
601:newsreel
265:Synopsis
236:(1911),
150:Language
2584:Portals
2563:Related
2382:at IMDb
2269:1225675
2202:3815174
2177:3815119
1794:(ed.).
711:author
599:Weekly
384:SM U-20
334:The man
323:capsize
315:SM U-20
142:Country
119: (
2539:(film)
2531:(film)
2523:(film)
2504:(1918)
2496:(1914)
2488:(1912)
2480:(1911)
2452:(1905)
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721:Disney
338:Kaiser
285:(1918)
172:silent
154:Silent
2572:(son)
2469:Films
2265:JSTOR
2219:JSTOR
2198:JSTOR
2192:(2).
2173:JSTOR
2118:–87.
1638:Books
854:Aztec
750:Notes
611:Style
566:from
537:'
2610:Film
2544:Nemo
2358:ISBN
2334:2012
2305:(2).
2242:(1).
2141:ISBN
2120:ISBN
2093:ISBN
2067:ISBN
2041:ISBN
2013:ISBN
1991:ISBN
1959:ISBN
1934:ISBN
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1881:ISBN
1851:ISBN
1829:ISBN
1804:ISBN
1777:ISBN
1758:ISBN
1730:ISBN
1709:ISBN
1681:ISBN
1656:ISBN
850:and
585:wash
534:Nemo
476:was
446:RMS
391:RMS
389:the
210:RMS
44:RMS
2257:doi
852:SS
681:war
648:or
564:cel
545:cel
543:'s
402:the
400:to
302:".
258:cel
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619:A
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357:c.
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