Animated cartoons fool the brain into believing that static images can move characters are “brought to life” by putting pen to paper or finger to a computer’s trackpad. That has largely remained true throughout the medium’s history, both frame by frame and over the course of a two-hour children’s movie. “Therefore, animation is the art of manipulating the invisible interstices between frames.” “What happens between each frame is more important than what happens on each frame,” the prominent experimental animator Norman McLaren (who makes the list with his short Neighbours, below) once explained. If you take an image of an open hand and an image of a fist and project the two in sequence, you’ll convey the illusion of a clench. It’s right there in the name of one of the earliest devices used to project slides: the magic lantern. All animation, whether it depicts a whistling mouse, a walking dinosaur, or a leaping superhero, is a kind of magic trick.
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