Gertie the Dinosaur 1

Gertie the Dinosaur

Gertie the Dinosaur

Gertie driven to tears by her master

Directed by Winsor McCay

Release dates February 8, 1914

Running time 12 minutes

Country United States

Language •• Silent film• English intertitles

Gertie the Dinosaur is a 1914 animated short film by American cartoonist and animator Winsor McCay. It is theearliest animated film to feature a dinosaur. McCay first used the film before live audiences as an interactive part ofhis vaudeville act; the frisky, childlike Gertie did tricks at the command of her master. McCay's employer WilliamRandolph Hearst later curtailed McCay's vaudeville activities, so McCay added a live-action introductory sequenceto the film for its theatrical release. McCay abandoned a sequel, Gertie on Tour (c. 1921), after producing about aminute of footage.Although Gertie is popularly thought to be the earliest animated film, McCay had earlier made Little Nemo (1911)and How a Mosquito Operates (1912). The American J. Stuart Blackton and the French Émile Cohl hadexperimented with animation even earlier; Gertie being a character with an appealing personality distinguishedMcCay's film from these earlier "trick films". Gertie was the first film to use animation techniques such askeyframes, registration marks, tracing paper, the Mutoscope action viewer, and animation loops. It influenced thenext generation of animators such as the Fleischer brothers, Otto Messmer, Paul Terry, and Walt Disney. JohnRandolph Bray unsuccessfully tried to patent many of McCay's animation techniques and is said to have been behinda plagiarized version of Gertie that appeared a year or two after the original. Gertie is the best preserved of McCay'sfilms—some of which have been lost or survive only in fragments—and has been preserved in the US National FilmRegistry.

Gertie the Dinosaur 2

Background

Winsor McCay was a pioneer incomic strips and animation (1906

photo).

Winsor McCay (c. 1867–71 – 1934)[1] </ref> had worked prolifically as acommercial artist and cartoonist by the time he started making newspaper comicstrips such as Dream of the Rarebit Fiend (1904–11)[2] </ref> and his signaturestrip Little Nemo (1905–14).[3] to 1911, and In the Land of Wonderful Dreamsfrom 1911[4] to 1914.[5] </ref>[6] In 1906, McCay began performing on thevaudeville circuit, doing chalk talks—performances in which he drew before liveaudiences.[7]

Inspired by the flip books his son brought home,[8] McCay "came to see thepossibility of making moving pictures"[9] of his cartoons. He claimed that he"was the first man in the world to make animated cartoons",[9] though he waspreceded by the American James Stuart Blackton and the French Émile Cohl.[9]

McCay's first film starred his Little Nemo characters and debuted in movietheatres in 1911; he soon incorporated it into his vaudeville act.[10] He followedit in 1912 with How a Mosquito Operates,[11] in which a giant, naturalisticallyanimated mosquito sucks the blood of a sleeping man.[12] McCay gave the mosquito a personality and balancedhumor with the horror of the nightmare situation.[13] His animation was criticized as being so lifelike that he musthave traced the characters from photographs[14] or resorted to tricks using wires;[15] to show that he had not, McCaychose a creature that could not have been photographed for his next film.[14]

McCay conferred with the American Historical Society in 1912, and announced plans[16] for "the presentation ofpictures showing the great monsters that used to inhabit the earth".[17] He spoke of the "serious and educationalwork" that the animation process could enable.[18] McCay had earlier introduced dinosaurs into his comic strip work,such as a March 4, 1905,[19][20] episode of Dream of the Rarebit Fiend in which a Brontosaurus skeleton took part ina horse race,[21] and a May 25, 1913,[22]

 Wikimedia Commons has a file available for this comic strip. </ref> Rarebit Fiend episode in which a hunterunsuccessfully targets a dinosaur; the layout of the background to the latter bore a strong resemblance to what laterappeared in Gertie.[23] In the September 21, 1913,[24] episode of McCay's Little Nemo strip In the Land of WonderfulDreams, titled "In the Land of the Antediluvians", Nemo meets a blue dinosaur named Bessie which has the samedesign as that of Gertie.[25] and April 22, 1912, (  Commons file)[26] episodes of Dream of the Rarebit Fiend, anda 1906 Little Sammy Sneeze episode in which Sammy destroys a dinosaur skeleton with his sneeze.[20] </ref>[18]

Long-necked dinosaurs often appeared in Dream of the Rarebit Fiend. (May 25, 1913)[27]

McCay considered a number of names before settling on "Gertie"; his production notebooks used "Jessie theDinosaurus" [sic]. Disney animator Paul Satterfield recalled hearing McCay in 1915 relate how he had chosen thename "Gertie":[18]

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He heard a couple of "sweet boys" [gay men] out in the hall talking to each other, and one of them said, "Oh,Bertie, wait a minute!" in a very sweet voice. He thought it was a good name, but wanted it to be a girl's nameinstead of a boy's, so he called it "Gertie".—Paul Satterfield, Interview with Milt Gray, 1977[18]

Content

Gertie the Dinosaur (1914)

Gertie the Dinosaur is the earliest animated film to feature adinosaur.[28] Its star Gertie does tricks much like a trained elephant.She is animated in a naturalistic style unprecedented for the time; shebreathes rhythmically, she shifts her weight as she moves, and herabdominal muscles undulate as she draws water. McCay imbued herwith a personality—while friendly, she could be capricious, ignoring orrebelling against her master's commands.[29]

Synopsis

When her master McCay calls her, the frisky, childlike Gertie appears from a cave. Her whip-wielding master hasher do tricks such as raising her foot or bowing on command. When she feels she has been pushed too far, she nipsback at her master. She cries when he scolds her, and he placates her with a pumpkin.[30] </ref> Throughout the act,prehistoric denizens such as a flying lizard continually distract Gertie. She tosses a mammoth in the lake; when itteases her by spraying her with water, she hurls a boulder at it as it swims away. After she quenches her thirst bydraining the lake, McCay has her carry him offstage while he bows to the audience.[31]

Production

McCay used registration marks in thecorners of the drawings to reduce

jittering.

Gertie was McCay's first piece of animation with detailed backgrounds.[18] Mainproduction began in mid-1913.[32] Working in his spare time,[33] McCay drewthousands of frames of Gertie on 6 1⁄2-by-8 1⁄2-inch (17 cm × 22 cm) sheets ofrice paper,[32] a medium good for drawing as it did not absorb ink, and as it wastranslucent it was ideal for the laborious retracing of backgrounds,[34] a job thatfell to art student neighbor John A. Fitzsimmons.[32] The drawings themselvesoccupied a 6-by-8-inch (15 cm × 20 cm) area of the paper,[35] </ref> markedwith registration marks in the corners[34] to reduce jittering of the images whenfilmed. They were photographed mounted on large pieces of stiff cardboard.[32]

Preparing the thousands of drawingsfor the film, from the film's

introduction

McCay was concerned with accurate timing and motion; he timed his ownbreathing to determine the timing of Gertie's breathing, and included subtledetails such as the ground sagging beneath Gertie's great weight.[32] McCayconsulted with New York museum staff to ensure the accuracy of the movementsof dinosaur; the staff were unable to help him find out how an extinct animalwould stand up from a lying position, so in a scene in which Gertie stood up,McCay had a flying lizard come on screen to draw away viewers' attention.[36]

When the drawings were finished, they were photographed at Vitagraph Studiosin early 1914.[37]

Gertie the Dinosaur 4

McCay pioneered the "McCay Split System" of keyframe animation, in which major poses or positions were drawnfirst and the intervening frames drawn after. This relieved tedium and improved the timing of the film's actions.[36]

McCay was open about the techniques that he developed, and refused to patent his system, reportedly saying, "Anyidiot that wants to make a couple of thousand drawings for a hundred feet of film is welcome to join the club."[38]

During production of Gertie, he showed the details to a visitor who claimed to be writing an article about animation.The visitor was animator John Randolph Bray,[39] who sued McCay in 1914[40] after taking advantage of McCay'slapse to patent many of the techniques, including the use of registration marks, tracing paper, and the Mutoscopeaction viewer, and the cycling of drawings to create repetitive action.[41] The suit was unsuccessful, and there isevidence that McCay may have countersued—he received royalty payments from Bray for licensing thetechniques.[42]

Release

Advertisements educated audiencesabout dinosaurs.

Gertie the Dinosaur first appeared as part of McCay's vaudeville act in early1914.[37] It also appeared in an extended edition for movie theaters towards theend of the year.[43] Dinosaurs were still new to the public imagination at the timeof Gertie's release. Advertisements reflected this by trying to educate audiences:"According to science this monster once ruled this planet ... Skeletons [are] nowbeing unearthed measuring from 90 ft. to 160 ft. in length. An elephant should bea mouse beside Gertie."[44]

Vaudeville

McCay originally used a version of the film as part of his vaudeville act.[45]

</ref> The first performance was on February 8, 1914,[46] </ref>[37] in Chicagoat the Palace Theater. McCay began the show making his customary livesketches, which he followed with How a Mosquito Operates. He then appearedon stage with a whip and lectured the audience on the making of animation.Standing to the right of the film screen, he introduced "the only dinosaur incaptivity". As the film started Gertie poked her head out of a cave, and McCay

encouraged her to come forward. He reinforced the illusion with tricks such as tossing a cardboard apple at thescreen, at which point he turned his back to the audience and pocketed the apple as it appeared in the film for Gertieto eat.[47] </ref> For the finale, McCay walked offstage from where he "reappeared" in the film; Gertie lifted up theanimated McCay, placed him on her back, and walked away as McCay bowed to the audience.[31]

The show soon moved to New York.[48] Though reviews were positive, McCay's employer at the New YorkAmerican, newspaper magnate William Randolph Hearst, was displeased that his star cartoonist's vaudevilleschedule interrupted his work illustrating editorials. At Hearst's orders, reviews of McCay's shows disappeared fromthe American's pages. Shortly after, Hearst refused to run paid advertisements from the Victoria Theater, whereMcCay performed in New York.[49] On March 8, Hearst announced a ban on artists in his employ from performingin vaudeville.[50] McCay's contract did not prohibit him from his vaudeville performances, but Hearst was able topressure McCay and his agents to cancel bookings, and eventually McCay signed a new contract barring him fromperforming outside of greater New York.[43]

Gertie the Dinosaur 5

Movie theaters

McCay sketches Gertie for his colleagues in alive-action sequence made for the film's theatrical

release.

In November 1914, film producer William Fox offered to marketGertie the Dinosaur to moving-picture theaters for "spot cash andhighest prices".[51] McCay accepted, and extended the film to include alive-action prologue[52] </ref> and intertitles to replace his stage patter.The film successfully traveled the country and had reached the westcoast by December.[43]

The live-action sequence features McCay with several of hisfriends,[43] such as cartoonists George McManus and Tad Dorgan,writer Roy McCardell, and actor Tom Powers;[53] McCay's son Roberthad a cameo as a camera-room assistant.[43] McCay used a bet as a plotdevice, as he had previously in the Little Nemo film.[54]

As the film opens, McCay and friends suffer a flat tire in front of theAmerican Museum of Natural History. They enter the museum, and while viewing a Brontosaurus skeleton, McCaywagers a dinner that he can bring a dinosaur to life with his animation skills. The animation process and its "10,000drawings, each a little different from the one preceding it" is put on display,[55] </ref>[29] with humorous scenes ofmountains of paper, some of which an assistant drops.[56] When the film is finished, the friends gather to view it in arestaurant.[29]

McCay and animation after Gertie

The Sinking of the Lusitania (1918) required25,000 drawings to be made over two years, and

was McCay's first film to use acetate cels.

McCay's working method was laborious, and animators developed anumber of methods to reduce the workload and speed production tomeet the demand for animated films. Within a few years of Nemo'srelease, Canadian Raoul Barré's registration pegs combined withAmerican Earl Hurd's cel technology became near-universal methodsin animation studios.[57] McCay used cel technology[58] in hisfollow-up to Gertie, The Sinking of the Lusitania (1918).[59] It was hismost ambitious film at 25,000 drawings,[58] and took nearly two yearsto complete, but was not a commercial success.[60]

McCay made six more films, though three of them were never madecommercially available.[61] After 1921, McCay was made to give upanimation when Hearst learned he devoted more of his time toanimation than to his newspaper illustrations.[62] Unexecuted ideas McCay had for animation projects included acollaboration with Jungle Imps author George Randolph Chester, a musical film called The Barnyard Band,[63] and afilm about the Americans' role in World War I.[64]

In 1927, McCay attended a dinner in his honor in New York. After a considerable amount of drinking, McCay wasintroduced by animator Max Fleischer. McCay gave the gathered group of animators some technical advice, butwhen he felt the audience was not giving him attention, he berated them, saying, "Animation is an art. That is how Iconceived it. But as I see, what you fellows have done with it, is making it into a trade. Not an art, but a trade. BadLuck!"[65] That September he appeared on the radio at WNAC, and on November 2 Frank Craven interviewed himfor The Evening Journal's Woman's Hour. During both appearances he complained about the state of contemporaryanimation.[66] McCay died July 26, 1934,[67] of a cerebral embolism.[68]

Gertie the Dinosaur 6

Reception and legacy

A Gertie-like dinosaur appeared in In the Land ofWonderful Dreams on September 21, 1913.

Gertie pleased audiences and reviewers.[69] It won the praise of dramacritic Ashton Stevens in Chicago, where the act opened.[70] OnFebruary 22, 1914, before Hearst had barred the New York Americanfrom mentioning McCay's vaudeville work, a columnist in the papercalled the act "a laugh from start to finish ... far funnier than his notedmosquito drawings".[48] On February 28 the New York EveningJournal called it "the greatest act in the history of motion picturecartoonists".[49] Émile Cohl praised McCay's "admirably drawn" films,and Gertie in particular, after seeing them in New York before hereturned to Europe.[71] Upon its theatrical release, Variety magazinewrote the film had "plenty of comedy throughout" and that it would"always be remarked upon as exceptionally clever".[72]

A fake version of Gertie the Dinosaur appeared a year or two after theoriginal; it features a dinosaur performing most of Gertie's tricks, but with less skillful animation, using cels on astatic background.[73] It is not known for certain who produced the film, though its style is believed to be that ofBray Productions.[74] Filmmaker Buster Keaton rode the back of a clay-animated dinosaur in homage to Gertie inThree Ages (1923).[54]

McCay's first three films were the earliest animated works to have a commercial impact; their success motivated filmstudios to join in the infant animation industry.[75] Other studios used McCay's combination of live action withanimation, such as the Fleischer Studios series Out of the Inkwell (1918–1929)[15] and Walt Disney's Alice Comediesseries (1923–1927).[76] McCay's clean-line, high-contrast, realistic style set the pattern for American animation tocome, and set it apart from the abstract, open forms of animation in Europe.[77] This legacy is most apparent in thefeature films of the Walt Disney Animation Studios, for example in Fantasia (1940), which includedanthropomorphic dinosaurs animated in a naturalistic style, with careful attention to timing and weight. ShamusCulhane, Dave and Max Fleischer, Walter Lantz, Otto Messmer, Pat Sullivan, Paul Terry, and Bill Tytla were amongthe generation of American animators who drew inspiration from the films they saw in McCay's vaudeville act.[78]

Gertie's reputation was such that animation histories long named it as the first animated film.[56]

Fragment of Gertie on Tour (c. 1921)

Around 1921, McCay worked on a second animated film featuringGertie, titled Gertie on Tour. The film was to have Gertie bouncing onthe Brooklyn Bridge in New York, attempting to eat the WashingtonMonument in Washington, D.C., wading in on the Atlantic City shore,and other scenes.[79] The film exists only in concept sketches and inone minute of film footage in which Gertie plays with a trolley anddances before other dinosaurs.[80]

Since his death, McCay's original artwork has been poorlypreserved;[33] much was destroyed in a late-1930s house fire, and morewas sold off when the McCays needed money.[81] About 400 original

drawings from the film have been preserved, discovered by animator Robert Brotherton in disarray in the fabric shopof Irving Mendelsohn, into whose care McCay's films and artwork had been entrusted in the 1940s.[82] Besides somecels from The Sinking of the Lusitania, these Gertie drawings are the only original animation artwork of McCay's tohave survived.[83] McCay destroyed many of his original cans of film to create more storage space. Of what he kept,much has not survived, as it was photographed on 35mm nitrate film, which deteriorates and is highly flammable in

storage. A pair of young animators discovered the film in 1947 and preserved what they could. In many cases only fragments could be saved, if anything at all. Of all of McCay's films, Gertie is the best preserved.[84] Mendelsohn

Gertie the Dinosaur 7

and Brotherton tried fruitlessly to find an institution to store McCay's films until the Canadian film conservatory theCinémathèque québécoise approached them in 1967 on the occasion of that year's World Animation Film Expositionin Montreal. The Cinémathèque québécoise has since curated McCay's films.[85] </ref>[86] Of the survivingdrawings, fifteen have been determined not to appear in extant copies of the film. They appear to come from a singlesequence, likely at the close of the film, and have Gertie showing her head from the audience's right and giving abow.[34]

One of the 400 surviving original drawings fromGertie

McCay's son Robert unsuccessfully attempted to revive Gertie with acomic strip called Dino.[87] He and Disney animator Richard Huemerrecreated the original vaudeville performance for the Disneylandtelevision program in 1955;[71] this was the first exposure the film hadfor that generation. Walt Disney expressed to the younger McCay hisfeeling of debt, and gestured to the Disney studios saying, "Bob, allthis should be your father's."[86] An ice cream shop in the shape ofGertie sits by Echo Lake in Disney's Hollywood Studios in WaltDisney World.[88]

New York Times film critic Richard Eder, on seeing a retrospective ofMcCay's animation at the Whitney Museum of American Art in 1975,wrote of Gertie that "Disney ... struggled mightily to recapture" the qualities in McCay's animation, but that"Disney's magic, though sometimes scary, was always contained; McCay's approached necromancy". Eder comparedMcCay's artistic vision to that of poet William Blake's, saying "it was too strange and personal to be generalized orto have any children".[89]

Gertie has been written about in hundreds of books and articles.[87] Animation historian Donald Crafton calledGertie "the enduring masterpiece of pre-Disney animation".[37] Brothers Simon and Kim Deitch loosely based theirgraphic novel The Boulevard of Broken Dreams (2002) on McCay's disillusionment with the animation industry inthe 1920s. The story features an aged cartoonist named Winsor Newton,[90] </ref> who in his younger years had aGertie-like stage act featuring a mastodon named Milton.[91] Gertie has been selected for preservation in the USNational Film Registry.[92]

Notes[1] Different accounts have given McCay's birth year as 1867, 1869, and 1871. His birth records are not extant.<ref

name="FOOTNOTECanemaker200522">Canemaker 2005, p. 22.[2] Rarebit Fiend was revived between 1911 and 1913 under other titles, such as Midsummer Day Dreams and It Was Only a Dream.<ref

name="FOOTNOTEMerkl2007478">Merkl 2007, p. 478.[3] The strip was titled Little Nemo in Slumberland from 1905<ref name="FOOTNOTECanemaker200597">Canemaker 2005, p. 97.[4][4] Canemaker 2005, p. 164.[5][5] Canemaker 2005, p. 229.[6][6] Eagan 2010, p. 32.[7] Canemaker 2005, pp. 131–132.[8][8] Beckerman 2003; Canemaker 2005, p. 157.[9][9] Canemaker 2005, p. 157.[10][10] Canemaker 2005, p. 160.[11][11] Eagan 2010, p. 33.[12] Barrier 2003, p. 17; Dowd & Hignite 2006, p. 13.[13][13] Canemaker 2005, p. 167.[14][14] Mosley 1985, p. 62.[15] Murray & Heumann 2011, p. 92.[16][16] Crafton 1993, p. 123.[17][17] Motograph staff 1912, p. 162.[18][18] Canemaker 2005, p. 168.[19] Wikimedia Commons has a file available for this comic strip.

Gertie the Dinosaur 8

[20][20] Merkl 2007, p. 32.[21][21] Glut 1999, p. 199; Crafton 1993, p. 123.[22] Though the strip appeared in the Evening Telegram on May 25, 1913, it was drawn sometime between 1908 and 1911.<ref

name="FOOTNOTEMerkl2007488">Merkl 2007, p. 488.[23] Canemaker 2005, pp. 168, 172–173; Merkl 2007, pp. 366–367.[24] Wikimedia Commons has a file available for this comic strip.[25] McCay used dinosaurs in other strips as well, such as the August 21, 1910 ( Commons file),<ref

name="FOOTNOTEMerkl2007341–342">Merkl 2007, pp. 341–342.[26][26] Merkl 2007, p. 439.[27] Wikimedia Commons has a file available for the complete strip.[28][28] Mitchell 1998, p. 62.[29][29] Crafton 1993, p. 113.[30] In the original vaudeville version, McCay used an apple rather than a pumpkin.<ref name="FOOTNOTEBaker20127">Baker 2012, p. 7.[31] Canemaker 2005, pp. 175–177.[32][32] Canemaker 2005, p. 169.[33][33] Heer 2006.[34] Nathan & Crafton 2013, p. 29.[35] This was in the 1:1.33 aspect ratio that was standard for film at the time.<ref name="FOOTNOTENathanCrafton201329">Nathan & Crafton

2013, p. 29.[36][36] Canemaker 2005, p. 171.[37][37] Crafton 1993, p. 110.[38][38] Canemaker 2005, pp. 171, 261.[39] Canemaker 2005, pp. 171–172.[40][40] Sito 2006, p. 36; Canemaker 2005, p. 172.[41][41] Canemaker 2005, p. 172.[42][42] Canemaker 2005, p. 174.[43][43] Canemaker 2005, p. 182.[44][44] Tanner 2000.[45] There are no known extent copies of the vaudeville version of Gertie.<ref name="FOOTNOTENathanCrafton201332">Nathan & Crafton

2013, p. 32.[46] McCay registered the copyright for Gertie the Dinosaur on September 15, 1914.<ref name="FOOTNOTECanemaker2005182">Canemaker

2005, p. 182.[47] In the theatrical version, the intertitles call the apple a pumpkin.<ref name="FOOTNOTEBaker20127">Baker 2012, p. 7.[48][48] Canemaker 2005, p. 177.[49][49] Canemaker 2005, p. 181.[50][50] Canemaker 2005, pp. 181, 261.[51][51] Canemaker 2005, p. 182; Crafton 1993, p. 112.[52] It is not known when the live-action sequences were filmed.<ref name="FOOTNOTECrafton1993112">Crafton 1993, p. 112.[53][53] Cullen 2004, p. 738; Crafton 1993, p. 112.[54][54] Crafton 1993, p. 134.[55] David Nathan and Donald Crafton find the number 10,000 suspect, as that number of frames at 16 frames per second would result in 11

minutes of animation; extent copies of the theatrical version of the film, of which only one brief scene is known to be missing, have onlyseven minutes of animation. Taking cycling into account, even 11 minutes is a conservative estimate.<refname="FOOTNOTENathanCrafton201340">Nathan & Crafton 2013, p. 40.

[56] Thomas & Penz 2003, p. 25.[57] Barrier 2003, pp. 10–14.[58][58] Canemaker 2005, p. 188.[59][59] Canemaker 2005, p. 186.[60][60] Canemaker 2005, p. 193.[61] Canemaker 2005, pp. 197–198.[62][62] Sito 2006, p. 36.[63][63] Canemaker 2005, p. 198.[64][64] Canemaker 2005, pp. 198, 217.[65][65] Canemaker 2005, p. 199.[66][66] Canemaker 2005, p. 239.[67][67] Canemaker 2005, p. 249.[68][68] Syracuse Herald staff 1934, p. 12.[69][69] Canemaker 2005, p. 177, 181.[70][70] Crafton 1993, p. 110; Canemaker 2005, p. 177.

Gertie the Dinosaur 9

[71][71] Crafton 1993, p. 111.[72][72] Variety staff 1914, p. 26.[73][73] Canemaker 2005, p. 175.[74][74] Canemaker 2005, p. 175; Glut 2002, p. 102.[75][75] Callahan 1988, p. 223.[76] Murray & Heumann 2011, p. 93.[77] Crafton 1993, pp. 134–135.[78][78] Canemaker 2005, p. 257.[79][79] Canemaker 2005, pp. 192, 197.[80][80] Canemaker 2005, p. 194.[81] Canemaker 2005, pp. 253–254.[82] Canemaker 2005, pp. 253–255, 258.[83][83] Canemaker 2005, p. 258.[84][84] Canemaker 2005, p. 254.[85] On the indifference of American institutions to the task, John Canemaker quotes children's book illustrator Maurice Sendak: "America 'still

doesn't take its great fantasists all that seriously.'"<ref name="FOOTNOTECanemaker2005255">Canemaker 2005, p. 255.[86][86] Canemaker 2005, p. 255.[87] Hoffman & Bailey 1990, p. 125.[88][88] Goldsbury 2003, p. 180.[89][89] Canemaker 2005, pp. 256, 263.[90] "Winsor Newton" is wordplay on "Winsor McCay" and "Winsor & Newton", a brand of art supplies.<ref

name="FOOTNOTELeopold2003">Leopold 2003.[91][91] Young 1991, p. 49; Hatfield 2004.[92][92] Andrews 1991, p. 31.

References

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Features (http:/ / books. google. com/ books?id=toDDUG8GHAkC). University of Nebraska Press.ISBN 978-0-8032-3512-0.

• Sito, Tom (2006). Drawing the Line: The Untold Story of the Animation Unions from Bosko to Bart Simpson(http:/ / books. google. com/ books?id=XZ0PsCWPSZ0C). University Press of Kentucky.ISBN 978-0-8131-2407-0.

• Thomas, Maureen; Penz, François (2003). Architectures of Illusion: From Motion Pictures to NavigableInteractive Environments (http:/ / books. google. com/ books?id=_UozK9smjVcC). Intellect Books.ISBN 978-1-84150-045-4.

Journals and magazines

• Callahan, David (September–October 1988). "Cel Animation: Mass Production and Marginalization in theAnimated Film Industry" (http:/ / www. jstor. org/ stable/ 3815119). Film History (Indiana University Press) 2(3): 223–228.

• Hatfield, Charles (2004). "The Presence of the Artist: Kim Deitch's Boulevard of Broken Dreams vis-a-vis theAnimated Cartoon" (http:/ / www. english. ufl. edu/ imagetext/ archives/ v1_1/ hatfield/ index. shtml).ImageTexT: Interdisciplinary Comics Studies (Department of English, University of Florida) 1 (1). Retrieved2013-04-28.

• Heer, Jeet (2006). "Little Nemo in Comicsland" (http:/ / www. questia. com/ read/ 1P3-1010716801). VirginiaQuarterly Review (University of Virginia) 82 (2): 104–121. ISSN  2154-6932 (http:/ / www. worldcat. org/ issn/2154-6932).

• Motograph staff (1912-04-04). "Making Motion Pictures by Pencil" (http:/ / archive. org/ details/motography78elec). Motograph (Electricity Magazine Corp.) 7 (4): 162. LCCN  xca12001192 (http:/ / lccn. loc.gov/ xca12001192).

• Nathan, David L; Crafton, Donald (2013). "The Making and Re-making of Winsor McCay's Gertie (1914)" (http:// anm. sagepub. com/ content/ 8/ 1/ 23). Animation (8): 23–46. doi: 10.1177/1746847712467569 (http:/ / dx. doi.org/ 10. 1177/ 1746847712467569). ISSN  1746-8485 (http:/ / www. worldcat. org/ issn/ 1746-8485).

• Tanner, Ron (Summer 2000). "Terrible Lizard! the Dinosaur as Plaything" (http:/ / www. questia. com/ read/1P3-109966024). Journal of American & Comparative Cultures (Blackwell Publishing) 23 (2). doi:10.1111/j.1542-734X.2000.2302_53.x (http:/ / dx. doi. org/ 10. 1111/ j. 1542-734X. 2000. 2302_53. x). ISSN 1542-734X (http:/ / www. worldcat. org/ issn/ 1542-734X).

• "Gertie" (http:/ / archive. org/ details/ variety37-1914-12). Variety: 26. 1914-12-19.• Young, Frank (October 1991). "Well Done: Raw". The Comics Journal (Fantagraphics Books): 48–51. ISSN 

0194-7869 (http:/ / www. worldcat. org/ issn/ 0194-7869).

Gertie the Dinosaur 11

Newspapers

• Andrews, Robert M. (1991-09-26). "Library of Congress adds 25 more films to classics collection" (http:/ / news.google. com/ newspapers?id=pEweAAAAIBAJ& sjid=OscEAAAAIBAJ& dq=gertie the dinosaur national filmregistry& pg=1308,3978561). TimesDaily. p. 31.

• Syracuse Herald staff (1934-07-27). "Winsor M'Cay Early Comic Artist, Dies". Syracuse Herald. p. 12.

Web

• Leopold, Todd (2003-01-09). "The Strange History of a Cartoon Cat: Graphic Novel 'Boulevard of BrokenDreams' Ode to Animation" (http:/ / edition. cnn. com/ 2003/ SHOWBIZ/ books/ 01/ 09/ kim. deitch/ index.html?_s=PM:SHOWBIZ). CNN.com. CNN. Retrieved 2013-04-28.

External links• Gertie the Dinosaur (http:/ / www. imdb. com/ title/ tt0004008/ ) at the Internet Movie Database• Gertie the Dinosaur (http:/ / www. allmovie. com/ movie/ v151281) at allmovie• "Have You Seen Gertie at Disney’s Hollywood Studios?" (http:/ / disneyparks. disney. go. com/ blog/ 2011/ 05/

have-you-seen-gertie-at-disneys-hollywood-studios/ ) about Dinosaur Gertie's Ice Cream of Extinction• Example of Dino (http:/ / library. osu. edu/ blogs/ cartoons/ files/ 2012/ 09/ dino. jpg) strip by Bob McCay

(attributed to Winsor McCay at the Billy Ireland Cartoon Library & Museum)

Article Sources and Contributors 12

Article Sources and ContributorsGertie the Dinosaur  Source: http://en.wikipedia.org/w/index.php?oldid=594544365  Contributors: 31stCenturyMatt, 83d40m, A. Parrot, Agent 78787, Aleal, Andrzejbanas, Angelo Michael,AnmaFinotera, Another Believer, Banclark3, Banclark4, Behnam Lot, Bensin, Brickwalljon, Buffbills7701, Casliber, Circeus, Colonies Chris, Crisco 1492, Curly Turkey, Davepape, Davin,Demeny, DrCruse, E-shark, Erik, Estrose, Favonian, Fram, FunkMonk, Gamaliel, Garion96, GeeJo, Glane23, Graham87, Grzegorznadolski, HarDNox, HarlandQPitt, Hektor, HueSatLum, Hîtler'shand of doom, Ian Rose, JEN9841, John W. Kennedy, Jpgordon, Jr9999, Kaitoace, KentoIkeda, Khazar2, Killuminator, Kintetsubuffalo, Koyaanis Qatsi, Lockley, Locogato, Lugnuts,Luxoman237, MER-C, MWAK, Magioladitis, Masaruemoto, Materialscientist, Melchoir, Mgiganteus1, Michfan2123, MiguelTremblay, MioUzaki, MisfitToys, Modemac, Modernstructure, Mr.Granger, Mwvandersteen, Pearle, Pjoef, Refrainin' Diamonds, Rich Farmbrough, Rulerk, S0ulreaper, Sailorsaurus, San Sanitsch, Skier Dude, SpaceFlight89, SpectrumDT, Stereorock,Sverigekillen, Tbhotch, TheNewMinistry, Timc, Twsx, UberMan5000, Vctrbarbieri, Yngvadottir, Zanimum, Zoe, שבור, Ὁ οἶστρος, 81 anonymous edits

Image Sources, Licenses and ContributorsFile:Gertie.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Gertie.jpg  License: Public Domain  Contributors: Original uploader was Edchstu at pt.wikipediaFile:Winsor McCay 1906.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Winsor_McCay_1906.jpg  License: Public Domain  Contributors: Curly Turkey, Flappiefh, FunkMonkFile:Commons-logo.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Commons-logo.svg  License: logo  Contributors: AnomieFile:Winsor McCay - Dream of the Rarebit Fiend 1913-05-25 - panels 3–6.jpg  Source:http://en.wikipedia.org/w/index.php?title=File:Winsor_McCay_-_Dream_of_the_Rarebit_Fiend_1913-05-25_-_panels_3–6.jpg  License: Public Domain  Contributors: Curly TurkeyFile:Magnify-clip.png  Source: http://en.wikipedia.org/w/index.php?title=File:Magnify-clip.png  License: Public Domain  Contributors: User:Erasoft24File:Winsor McCay (1914)Gertie the Dinosaur.webm  Source: http://en.wikipedia.org/w/index.php?title=File:Winsor_McCay_(1914)Gertie_the_Dinosaur.webm  License: Public Domain Contributors: Curly TurkeyFile:Winsor McCay (1914) Gertie the Dinosaur - Gerite carries MccCay in her mouth.jpg  Source:http://en.wikipedia.org/w/index.php?title=File:Winsor_McCay_(1914)_Gertie_the_Dinosaur_-_Gerite_carries_MccCay_in_her_mouth.jpg  License: Public Domain  Contributors: Curly TurkeyFile:Gertie stacks of drawings.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Gertie_stacks_of_drawings.jpg  License: Public Domain  Contributors: Winsor McCayFile:Gertie Variety.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Gertie_Variety.jpg  License: Public Domain  Contributors: AndibruntFile:Gertie dinner party.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Gertie_dinner_party.jpg  License: Public Domain  Contributors: Winsor McCayFile:The Sinking of the Lusitania (Winsor McCay, signed cel).jpg  Source: http://en.wikipedia.org/w/index.php?title=File:The_Sinking_of_the_Lusitania_(Winsor_McCay,_signed_cel).jpg License: Public Domain  Contributors: Andy king50, Catalaalatac, Curly Turkey, Kintetsubuffalo, SoerfmFile:Winsor McCay - Little Nemo - In the Land of Wonderful Dreams - 1913-09-21 - Flip in the Land of the Antediluvians panel 9.jpg  Source:http://en.wikipedia.org/w/index.php?title=File:Winsor_McCay_-_Little_Nemo_-_In_the_Land_of_Wonderful_Dreams_-_1913-09-21_-_Flip_in_the_Land_of_the_Antediluvians_panel_9.jpg License: Public Domain  Contributors: Curly TurkeyFile:Winsor McCay (1921) Gertie on Tour.webm  Source: http://en.wikipedia.org/w/index.php?title=File:Winsor_McCay_(1921)_Gertie_on_Tour.webm  License: Public Domain Contributors: Curly TurkeyFile:Gertie the dinosaur standing on a cliff edge looking at a mastodon frame.jpg  Source:http://en.wikipedia.org/w/index.php?title=File:Gertie_the_dinosaur_standing_on_a_cliff_edge_looking_at_a_mastodon_frame.jpg  License: Public Domain  Contributors: Curly Turkey

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