The Origins of Modern Animation from the Perspective of Media Archaeology: Using Émile Reynaud, Arthur Melbourne-Cooper, and Émile Cohl as Examples

Abstract

This paper, based on the theoretical framework of media archaeology, explores the origins of modern animation. Traditional animation history lacks comprehensive evidence regarding the starting point of modern animation, leading to historical entanglements between animation and film. Through the lens of media archaeology, this paper reexamines the historical trajectory of animation, focusing particularly on the contributions of three key figures: Émile Reynaud, Arthur Melbourne-Cooper, and Émile Cohl. Reynaud, with his "Theatre Optique" and "Pantomimes Lumineuses," revealed the narrative qualities of animation preceding those of film. Cooper, through the integration and innovation of stop-motion animation, demonstrated the close connection between animation and film technologies. Cohl, through "Fantasmagorie," established the unique formal language of animation—squash and stretch, further enhancing the artistic aspect of animation. However, the origin of modern animation is not singular but diverse. Media archaeology reveals the discontinuity in the development of animation art, indicating that modern animation is composed of diverse sources of media forces. Reynaud, Cooper, and Cohl respectively represent the diversity of sources of modern animation, including ancient figurative media, modern mechanical reproduction media, and modern artistic concepts. Therefore, the origin of modern animation does not stem from a specific "magical origin" but is shaped by these diverse forces collectively. This study not only helps clarify the historical controversies between animation and film but also provides a solid historical foundation for animation art criticism and anime culture studies, while revealing the complexity and diversity of the development of animation art.