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dbpprop:abstract "James Stuart Blackton, usually known as J. Stuart Blackton, was an American film producer of the Silent Era, the founder of Vitagraph Studios and among the first filmmakers to use the techniques of stop-motion and drawn animation. He is considered the father of American animation. Blackton was born in Sheffield, Yorkshire, England, in 1875. At the age of ten, he and his family immigrated to New York City. In 1894, Blackton and two fellow English \u00E9migr\u00E9s, Albert E. Smith and Ronald A. Reader, formed a partnership to break into vaudeville. Smith called himself the \"Komikal Konjurer\", Blackton was the \"Komikal Kartoonist\", and Reader operated an early version of the slide projector called a \"magic lantern\". Blackton's act consisted of \"lightning sketches\", where Blackton drew and rapidly modified drawings on an easel pad before the audience's eyes, accompanying this with a stream of talk nearly as rapid. The act failed to make enough money and the trio broke up to get regular jobs. Blackton ended up as a reporter/artist for the New York Evening World newspaper. In 1896, Thomas Edison publicly demonstrated the Vitascope, one of the first film projectors, and Blackton was sent to interview Edison and provide drawings of how his films were made. Eager for good publicity, Edison took Blackton out to his \"Black Maria\", the special cabin he used to do his filming, and created a film on the spot of Blackton doing a lightning portrait of Edison. The inventor did such a good job selling the art of movie-making that he talked Blackton and partner Smith into buying a print of the new film as well as nine other films, plus a Vitascope to show them to paying audiences (Reader was brought back in to run the projector). The new act was a great success, largely despite the various things Blackton and Smith were doing between the Edison films. The next step was to start making films of their own. In this way the American Vitagraph Company was born. During this period J. Stuart Blackton was not only running the Vitagraph studio, but also producing, directing, writing, and even starring in his films (he played the comic strip character \"Happy Hooligan\" in a series of shorts). Since profits were constantly increasing, Blackton felt that he could try any idea that sprang to his head. In a series of films, Blackton developed the concepts of animation. The first of these films is The Enchanted Drawing, with a copyright date of 1900 but probably made at least a year earlier. In this film, Blackton the lightning artist sketches a face, cigars, and a bottle of wine. He appears to remove the last drawings as real objects, and the face appears to react. The \"animation\" here is of the stop-action variety (the camera is stopped, a single change is made, and the camera is then started again) first used by M\u00E9li\u00E8s and others. The transition to stop-motion was apparently accidental and occurred around 1905. According to Albert Smith, one day the crew was filming a complex series of stop-action effects on the roof while steam from the building's generator was billowing in the background. On playing the film back, Smith noticed the odd effect created by the steam puffs scooting across the screen and decided to reproduce it deliberately. A few films, some lost, use this effect to represent invisible ghosts or to have toys come to life. In 1906, Blackton directed Humorous Phases of Funny Faces, which uses stop-motion as well as stick puppetry to produce a series of effects. After Blackton's hand draws two faces on a chalkboard, they appear to come to life and engage in antics. Most of the film uses life action effects instead of animation, but nevertheless this film had a huge effect in stimulating the creation of animated films in America. In Europe, the same effect was had from \"The Haunted Hotel\" (1907), another Vitagraph short directed by Blackton. The \"Haunted Hotel\" was mostly live-action, about a tourist spending the night in an inn run by invisible spirits. Most of the effects are also live-action (wires and such), but one scene of a dinner making itself was done using stop-motion, and was presented in a tight close-up that allowed budding animators to study it for technique. Blackton made another animated film that has survived, 1907's \"Lightning Sketches\", but it has nothing to add to the art of animation. In 1908 he made the first American film version of Romeo and Juliet, filmed in New York City's Central Park and The Thieving Hand, filmed in Flatbush, Brooklyn. By 1909, Blackton was too absorbed in the business of running Vitagraph to have time for filmmaking. He came to regard his animation experiments in particular as being rather juvenile (they receive no mention in his unpublished autobiography). Blackton left Vitagraph to go independent in 1917, but returned in 1923 as junior partner to Albert Smith. In 1925, Smith sold the company to Warner Brothers for a comfortable profit. Blackton did quite well with his share until the Stock Market Crash of 1929, which destroyed his savings. He spent his last years on the road, showing his old films and lecturing about the days of silent movies. His daughter Violet Virginia Blackton (1910-1965) married writer Cornell Woolrich in 1930 but their marriage was annulled in 1933. Blackton was married to actress Evangeline Wood when he was killed in a road accident in 1941. Cremated, his ashes were placed in the columbarium at Forest Lawn Memorial Park Cemetery in Glendale, California."@en ,
"James Stuart Blackton foi um cineasta estadunidense nascido no Reino Unido. Em 6 de abril de 1906, o ingl\u00EAs produziu a primeira tentativa de desenho animado, chamada The Humorous Phases of Funny Faces, com apenas tr\u00EAs minutos de dura\u00E7\u00E3o. N\u00E3o era um grande filme, com rostos de homens e mulheres mudando de express\u00E3o ao movimento de m\u00E3os, mas era o come\u00E7o da grande hist\u00F3ria da anima\u00E7\u00E3o. James Stuart Blackton fundou um estudio,junto com um magico e um ilusionista. Ali,prtendiam fazer filmes com talento e criatividade. O Estudio Vitagraph acabou se tornando um dos mais importantes da epoca. Os tres artistas desenvolveram tamb\u00E9m algumas tecnicas de anima\u00E7\u00E3o. Blackton foi o que mais experimentou nessa area. Um de seus filmes mais famosos foi O HOTEL MAL-ASSOMBRADO. Nesse filme,o publico podia ver,pela primeira vez uma faca fantasma se movendo sozinha,cortando,macabramente,um pao em fatias\u2026e muitas outras coisas do tipo. O filme fez um sucesso imenso. As pessoas ficaram curiossissimas,nao conseguiam descobrir como os artistas tinham feito tudo aquilo. hoje em dia,nao ha mais misterio."@pt ,
"James Stuart Blackton oli yhdysvaltalaistunut elokuvaohjaaja ja -tuottaja. H\u00E4n perusti Vitagraph Studiosin vuonna 1897. Sheffieldiss\u00E4 syntynyt Blackton muutti lapsena perheineen New Yorkiin. H\u00E4n esiintyi p\u00E4\u00E4osan n\u00E4yttelij\u00E4n\u00E4 1900-luvun alkuvuosien Happy Hooligan -elokuvissa. Blackton kuoli 66-vuotiaana Kaliforniassa liikenteess\u00E4 saamiinsa vammoihin. H\u00E4nen pitk\u00E4aikaisin puolisonsa oli mykk\u00E4elokuvat\u00E4hti Paula Blackton."@fi ,
"James Stuart Blackton war ein britisch-US-amerikanischer Karikaturist, Filmproduzent, Regisseur und Pionier des Animationsfilms. Blackton wurde in England geboren, doch seine Familie wanderte nach New York aus, als er 10 Jahre alt war. Ab 1894 trat er gemeinsam mit den beiden britischen Immigranten Albert E. Smith und Ronald A. Reader als Cartoonist und Geschichtenerz\u00E4hler in Vaudeville-Theatern auf, doch ihre Nummer war wenig erfolgreich und Blackton verdiente sein Geld haupts\u00E4chlich als Reporter f\u00FCr die Zeitung New York Evening World. F\u00FCr eine \u00F6ffentliche Pr\u00E4sentation von Thomas Edisons Filmprojektor Vitascope im Jahr 1896 sollte er den Erfinder interviewen und Zeichnungen anfertigen. Edison zeigte ihm seine Filmproduktionsst\u00E4tte Black Maria und produzierte zur Vorf\u00FChrung einen kurzen Film, den er gleich mitsamt einigen anderen Filmen an Blackton verkaufte. Zur Vorf\u00FChrung vor seinem Vaudeville-Publikum erwarb Blackton auch einen Vitascope-Apparat. Die Auff\u00FChrungen mit Albert E. Smith wurden ein Erfolg und sie gr\u00FCndeten zur Produktion eigener Filme 1897 die Vitagraph Company of America. In kurzer Zeit entwickelte sich die Filmgesellschaft Vitagraph zu einem finanziell erfolgreichen Unternehmen und Blackton konnte es sich leisten, spontane Ideen auszuprobieren. Ebenso wie bereits Georges M\u00E9li\u00E8s in Frankreich begann er zun\u00E4chst mit dem Stoptrick zu experimentieren, bei dem die Kamera angehalten wird, eine kleine Ver\u00E4nderung im Bild vorgenommen wird und dann die Filmaufnahme fortgesetzt wird. Er kombinierte diese Entdeckung mit eigenen Zeichnungen erstmals 1900 in The Enchanted Drawing. Weitere Filmtrickelemente, die Blackton gemeinsam mit Smith anwendete, waren \u00DCberblendungen und Mehrfachbelichtungen. Die Weiterentwicklung zur Stop-Motion-Technik entstand etwa um 1905 w\u00E4hrend des Filmens einer Serie von Stopptrickaufnahmen. Blackton wandte dieses Prinzip bis zur letzten Konsequenz an, indem durch Aneinanderreihung von Einzelaufnahmen die Illusion von Bewegung erzeugt wird, ohne dass tats\u00E4chliche Bewegung mit einer konstanten Anzahl von Bildern pro Sekunde aufgezeichnet wurde. Zu den \u00E4ltesten Filmen, die auf dieser Technik basieren geh\u00F6ren James Stuart Blacktons Humorous Phases of Funny Faces (1906) und The Haunted Hotel (1907). Etwa zur gleichen Zeit filmte auch \u00C9mile Cohl in Frankreich animierten Zeichentrick. 1908 schuf James Stuart Blackton die erste amerikanische Leinwand-Adaption von Romeo und Julia und bis 1912 entstanden zahlreiche weitere Shakespeare-Verfilmungen unter seiner Regie und Produktion. Ab 1909 war er so sehr mit der Arbeit f\u00FCr Vitagraph besch\u00E4ftigt, dass er kaum mehr selbst filmte. Weitere wichtige Werke Blacktons waren Uncle Tom's Cabin (1910) und Little Nemo (1911), gemeinsam mit Winsor McCay. 1915 war er Mitgr\u00FCnder des US-amerikanischen Produzentenverbandes AMPPA; 1917 verlie\u00DF James Stuart Blackton Vitagraph, um sich selbstst\u00E4ndig zu machen. 1921 ging er nach England und drehte dort drei Kost\u00FCmdramen, doch er kehrte 1923 als Juniorpartner von Albert E. Smith wieder zur\u00FCck in die USA. 1925 verkaufte Smith die Vitagraph Company gewinnbringend an Warner Brothers. Blackton konnte bis zum B\u00F6rsencrash 1929, der seine Ersparnisse vernichtete, gut von seinem Anteil leben. Den Rest seines Lebens verbrachte er mit dem Vorf\u00FChren seiner alten Filme und arbeitete f\u00FCr die Anglo American Film Company. Er starb bei einem Autounfall in Hollywood."@de ,
"James Stuart Blackton – karykaturzysta, pionier filmu animowanego, osiad\u0142y w Stanach Zjednoczonych. W roku 1897 wsp\u00F3lnie z Albertem E. Smithem za\u0142o\u017Cy\u0142 towarzystwo filmowe Vitagraph. Tw\u00F3rca pierwszych film\u00F3w animowanych: Humorous Phases of Funny Faces, Hotel, w kt\u00F3rym straszy, Magiczne wieczne pi\u00F3ro."@pl ,
"James Start Blackton fue un productor de pel\u00EDculas mudas. Es considerado el padre de la animaci\u00F3n estadounidense. Naci\u00F3 en Sheffield, Inglaterra, en 1875. Cuando ten\u00EDa 10 a\u00F1os, Blackton y su familia emigraron a Nueva York. En 1894, \u00E9l y dos personas, Albert E. Smith y Ronald A. Reader, formaron una asociaci\u00F3n para hacer vaudeville. Smith se llamaba a si mismo un \"Komikal Konjurer\" y Blackton se llamaba a si mismo el \"Komikal Kartoonist\", y Reader operaba una primera versi\u00F3n de un proyector llamado la linterna m\u00E1gica. El acto de Blackton consist\u00EDa en \"bosquejos de rel\u00E1mpago\". El acto no junt\u00F3 mucho dinero y el tr\u00EDo se separ\u00F3 para tener trabajos regulares."@es ,
"James Stuart Blackton, \u00E9tait un producteur et r\u00E9alisateur de films am\u00E9ricains \u00E0 l'\u00E9poque des films muets. Il fonda aussi les studios Vitagraph. Il est consid\u00E9r\u00E9 comme le p\u00E8re de l'animation aux \u00C9tats-Unis, en effet, il fut le premier qui cr\u00E9a un semblant de dessin anim\u00E9, qu'il projeta dans les ann\u00E9es 1900, dans lequel on le voit dessiner un bonhomme, qui bouge. Ce film s'intitule The Enchanted Drawing."@fr ,
"James Stuart Blackton, solitamente conosciuto come J. Stuart Blackton, fu uno dei primi produttori cinematografici americani dell'era del cinema muto, il fondatore della Vitagraph e uno dei primi registi ad usare tecniche quali il Passo uno e l'Animazione. \u00C8 considerato il padre dell'animazione americana. Blackton nacque a Sheffield, Yorkshire, Inghilterra nel 1875. All'et\u00E0 di dieci anni, lui e la sua famiglia emigrarono in New York City. Nel 1894, Blackton e due suoi amici inglesi, anch'essi immigrati formarono un'associazione per sfondare nella Vaudeville. Smith si auto-defin\u00EC il \"Prestigiatore Comico\" (\"Komical Konjurer\"), Blackton invece era il \"Cartoonista Comico\" (Komical Kartoonist\"), mentre Reader operava una prima versione di proiettore per diapositive chiamato lanterna magica. Il lavoro di Blackton consisteva in illuminare gli abbozzi disegnati, nei quali Blackton disegnava e che rapidamente modificava su un cavalletto da pittore prima che gli occhi dell'audience se ne accorgessero, il tutto accompagnato da un accompagnamento parlato altrettanto rapido. La cosa per\u00F2 fall\u00EC in quanto non rendeva abbastanza denaro ed il trio dovette sciogliersi per proseguire in lavori pi\u00F9 ordinari. Blackton fin\u00EC per fare il reporter per il quotidiano New York Evening World. Nel 1896, Thomas Edison dimostr\u00F2 pubblicamente il Vitascopio, uno dei primi proiettori cinematografici, e Blackton fu inviato per intervistare Edison e provvedere ai disegni di come i suoi film erano fatti. Desideroso di buona pubblicit\u00E0, Edison prese Blackton nel magazzino in cui produceva i suoi film (chiamato Black Maria, successivamente sua casa di produzione). Qui cre\u00F2 un film con protagonista lo stesso Blackton mentre esegue il ritratto di Edison. L'inventore realizz\u00F2 un cos\u00EC buon prodotto che don\u00F2 a Blackton ed al suo collaboratore, Smith, una copia del film pi\u00F9 un Vitascopio che avrebbero potuto utilizzare per i loro spettacoli. Allo stesso tempo Reader fu richiamato col ruolo di operatore. La nuova rappresentazione fu un grande successo, largamente dovuto alle varie cose che Blackton e Smith eseguivano all'interno dei film di Edison. Il passo successivo fu iniziare a realizzare film propri. Cos\u00EC nacque la American Vitagraph Company. Durante questo periodo, J. Stuart Blackton non era impegnato solo nella realizzazione dei nuovi studio, ma anche nella produzione, direzione, scrittura, nonch\u00E9 nella recitazione dei suoi film (recit\u00F2 in una serie di corti comici chiamati Happy Hooligan). Dal momento che i profitti crescevano costantemente, Bleckton cap\u00EC che poteva provare qualsiasi idea che gli veniva in mente. In una serie di film, Blackton svilupp\u00F2 cos\u00EC il concetto di animazione. Il primo di questi \"nuovi film\" fu The Enchanted Drawing, con copyright del 1900 ma probabilmente fatto almeno un anno prima. In questo film, Blackton fa lo schizzo di una faccia, di un sigaro e quindi di una bottiglia di vino. Dopodich\u00E9, con la sua mano, va a rimuovere gli ultimi due disegni come fossero reali, e la faccia inizia perci\u00F2 a reagire all'accaduto. L'animazione qui \u00E8 di tipo stop-action (la cinepresa viene fermata, un singolo cambiamento viene fatto, la cinepresa si riavvia, quindi si riferma e cos\u00EC via) per la prima volta utilizzata da Georges M\u00E9li\u00E8s ed altri. La transizione alla stop-motion fu apparentemente accidentale ed avvenne nel 1905. In accordo con Albert Smith, un giorno il cast stava registrando una complessa serie di effetti stop-action sul tetto quando del fumo dal generatore del caseggiato inizi\u00F2 ad ondeggiare sullo sfondo. Rivedendo poi il film, Smith not\u00F2 lo strano effetto creato dagli sbuffi di fumo che si precipitavano attraverso lo schermo e decise di riprodurlo deliberatamente. Pochi film, alcuni persi, usano quest'effetto per rappresentare fantasmi semi-visibili o per avere giocattoli che prendono vita. Nel 1906, Blackton diresse Humorous Phases of Funny Faces, che usava la stop-motion come fosse sempre stata utilizzata per produrre una serie di effetti. Dopo che la mano di Blackton disegna due facce su una lavagna, esse appaiono prendere vita ed imbarcarsi in una buffoneria. La maggior parte dei film usa gli effetti di \"vitalizzazione\" anzich\u00E9 la vera e propria animazione, ma comunque questo film ebbe un enorme successo nello stimolare la creazione dei primi film animati in America. In Europa, lo stesso effetto si ebbe con \"The Haunted Hotel\", un altro corto della Vitagraph diretto da Blackton. \"The Haunted Hotel\" era eseguito prevalentemente tramite recitazione, e rappresenta un turista che spende una notte in una locanda percorsa da spiriti invisibili. La maggior parte degli effetti sono anch'essi presi dal vero (tramite fili e simili), ma una scena del \u00E8 fatta mediante stop-motion e fu presentata in un vicino primo piano che permetteva agli altri animatori di studiare tale tecnica. Blackton fece un altro film animato che \u00E8 sopravvissuto, Lightning Sketches del 1907, ma non aveva nulla da aggiungere all\u2019arte dell\u2019animazione. Nel 1908 realizz\u00F2 la prima versione cinematografica americana di Romeo e Giulietta, filmato al Central Park di New York City. Nel 1909 Blackton era troppo assorbito nel business della Vitagraph per avere il tempo di dirigere un film. Volt\u00F2 a considerare i suoi esperimenti animati come un\u2019esperienza giovanile (non hanno neanche menzione nella sua autobiografia). Blackton lasci\u00F2 la Vitagraph per proseguire indipendentemente nel 1917, ma ritorn\u00F2 nel 1923 come socio minore di Albert Smith. Nel 1925 Smith vendette la compagnia alla Warner Brothers per un ottimo profitto. Blackton riusc\u00EC abbastanza bene fino al Marted\u00EC nero nel 1929, che distrusse i suoi averi. Spese i suoi ultimi anni in viaggio, mostrando i suoi vecchi film in conferenze sui giorni del cinema muto. Sua figlia, Violet Virginia Blackton spos\u00F2 lo scrittore Cornell Woolrich nel 1930, ma il loro matrimonio fu annullato nel 1933. Blackton era sposato con l\u2019attrice Evangeline Wood quando fu ucciso in un incidente stradale nel 1941. Cremato, le sue ceneri furono poste nel colombario del cimitero Forest Lawn Memorial Park in Glendale, California."@it ,
"James Stuart Blackton, gewoonlijk bekend als J. Stuart Blackton, was een Amerikaanse filmregisseur uit de tijd van de stomme film, oprichter van de American Vitagraph Company en een van de eerste filmmakers die gebruik maakte van de technieken stop-motion en van getekende animatie. Blackton werd geboren in Engeland in 1875 en op zijn tiende verhuisde zijn hele familie naar New York City. In 1894 formeerden Blackton en twee andere ge\u00EBmigreerde Engelsen, Albert E. Smith en Ronald A. Reader, een partnerschap om de weg in te slaan van de Vaudeville. Smith noemde zichzelf de \"Komikal Konjurer\", Blackton was de \"Komikal Kartoonist\", en Reader werkte aan een vroege versie van de diaprojector met de naam toverlantaarn. Blackton's rol bestond eruit oplichtende sketches te maken terwijl hij tekeningen tekende en snel veranderde op een schildersezel voor de ogen van het publiek. Hierbij sprak hij bijna even snel het publiek toe. De act leverde niet genoeg geld op en het trio ging uit elkaar om op de traditionele manier werk te vinden. Blackton werd uiteindelijk journalist/artiest voor de krant New York Evening World. In 1896, demonstreerde Thomas Edison publiekelijk de Vitascope, een van de eerste filmprojectoren. Blackton werd ernaar toegezonden om Edison te interviewen en tekeningen te maken van de werking van zijn films. Op zoek naar goede publiciteit naam Edison Blackton mee naar zijn Black Maria, een speciale studiohuisje die hij gebruikte om te filmen. Hier maakte hij ter plekke een belicht portret van hemzelf. Edison haalde Blackton en Smith over om een print van de film te kopen en van negen andere films, met daarbij een Vitascope om ze te vertonen tegenover betalend publiek. Reader werd erbij gehaald om de projector te laten draaien. De nieuwe act was een groot succes, grotendeels ondanks de verschillende acts die Blackton en Smith tussen de Edisonfilms door opvoerden. Ze ondernamen een volgende stap door zelf films te gaan maken; hiermee was de American Vitagraph Company in het leven geroepen. Gedurende deze periode runde J. Stuart Blackton niet alleen de Vitagraphstudio, maar produceerde, regisseerde en schreef hij films en trad er ook in op. Hij vertolkte hierbij het komische stripkarakter \"Happy Hooligan\" in een serie van korte filmpjes. Gezien de inkomsten stegen, durfde Blackton het aan een idee uit te voeren dat hem in de gedachte was gesprongen: in een serie van films ontwikkelde hij de concepten van animatie. De eerste van deze films is The Enchanted Drawing, met een datum van copyright uit 1900, maar die waarschijnlijk tenminste een jaar eerder gemaakt moet zijn. In deze film schetst Blackton een gezicht, sigaren, een hoed en een fles wijn en pakt ze als het ware uit de tekening als echte attributen en zet ze ook weer terug. De truc die hij hierbij uithaalt is de stop-motiontechniek: de camera wordt gestopt, er wordt een bepaalde actie uitgevoerd en vervolgens wordt de camera weer aangezet. Deze werd al eerder gebruikt door Georges M\u00E9li\u00E8s en anderen. Nieuwere technieken werden bedacht en er kwamen vervolgen op deze film: in 1906 regisseerde Blackton Humorous Phases of Funny Faces, in 1907 \"The Haunted Hotel\" en in 1908 de eerste Amerikaanse versie van Romeo and Juliet. Blackton hield in 1917 de Vitagraph voor gezien en kwam in 1923 terug als junior partner van Alfred Smith en in 1925 werd de zaak tegen een goede winst verkocht aan Warner Brothers. Blackton deed het vrij goed met zijn aandeel tot de Beurskrach van 1929 waarbij hij al zijn spaartegoeden verloor. De laatste jaren van zijn leven sleet hij op straat, waarbij hij oude films vertoonde en toespraken hield. Blackton was getrouwd met de actrice Evangeline Wood; zij kwam in 1941 om in een auto-ongeluk. Blackton overleed eveneens ditzelfde jaar."@nl ;
rdfs:comment "James Stuart Blackton foi um cineasta estadunidense nascido no Reino Unido. Em 6 de abril de 1906, o ingl\u00EAs produziu a primeira tentativa de desenho animado, chamada The Humorous Phases of Funny Faces, com apenas tr\u00EAs minutos de dura\u00E7\u00E3o. N\u00E3o era um grande filme, com rostos de homens e mulheres mudando de express\u00E3o ao movimento de m\u00E3os, mas era o come\u00E7o da grande hist\u00F3ria da anima\u00E7\u00E3o. James Stuart Blackton fundou um estudio,junto com um magico e um ilusionista."@pt ,
"James Stuart Blackton, solitamente conosciuto come J. Stuart Blackton, fu uno dei primi produttori cinematografici americani dell'era del cinema muto, il fondatore della Vitagraph e uno dei primi registi ad usare tecniche quali il Passo uno e l'Animazione. \u00C8 considerato il padre dell'animazione americana. Blackton nacque a Sheffield, Yorkshire, Inghilterra nel 1875. All'et\u00E0 di dieci anni, lui e la sua famiglia emigrarono in New York City."@it ,
"James Start Blackton fue un productor de pel\u00EDculas mudas. Es considerado el padre de la animaci\u00F3n estadounidense. Naci\u00F3 en Sheffield, Inglaterra, en 1875. Cuando ten\u00EDa 10 a\u00F1os, Blackton y su familia emigraron a Nueva York. En 1894, \u00E9l y dos personas, Albert E. Smith y Ronald A. Reader, formaron una asociaci\u00F3n para hacer vaudeville."@es ,
"James Stuart Blackton – karykaturzysta, pionier filmu animowanego, osiad\u0142y w Stanach Zjednoczonych. W roku 1897 wsp\u00F3lnie z Albertem E. Smithem za\u0142o\u017Cy\u0142 towarzystwo filmowe Vitagraph. Tw\u00F3rca pierwszych film\u00F3w animowanych: Humorous Phases of Funny Faces, Hotel, w kt\u00F3rym straszy, Magiczne wieczne pi\u00F3ro."@pl ,
"James Stuart Blackton, usually known as J. Stuart Blackton, was an American film producer of the Silent Era, the founder of Vitagraph Studios and among the first filmmakers to use the techniques of stop-motion and drawn animation. He is considered the father of American animation. Blackton was born in Sheffield, Yorkshire, England, in 1875. At the age of ten, he and his family immigrated to New York City. In 1894, Blackton and two fellow English \u00E9migr\u00E9s, Albert E. Smith and Ronald A."@en ,
"James Stuart Blackton war ein britisch-US-amerikanischer Karikaturist, Filmproduzent, Regisseur und Pionier des Animationsfilms. Blackton wurde in England geboren, doch seine Familie wanderte nach New York aus, als er 10 Jahre alt war. Ab 1894 trat er gemeinsam mit den beiden britischen Immigranten Albert E. Smith und Ronald A."@de ,
"James Stuart Blackton, \u00E9tait un producteur et r\u00E9alisateur de films am\u00E9ricains \u00E0 l'\u00E9poque des films muets. Il fonda aussi les studios Vitagraph. Il est consid\u00E9r\u00E9 comme le p\u00E8re de l'animation aux \u00C9tats-Unis, en effet, il fut le premier qui cr\u00E9a un semblant de dessin anim\u00E9, qu'il projeta dans les ann\u00E9es 1900, dans lequel on le voit dessiner un bonhomme, qui bouge. Ce film s'intitule The Enchanted Drawing."@fr ,
"James Stuart Blackton oli yhdysvaltalaistunut elokuvaohjaaja ja -tuottaja. H\u00E4n perusti Vitagraph Studiosin vuonna 1897. Sheffieldiss\u00E4 syntynyt Blackton muutti lapsena perheineen New Yorkiin. H\u00E4n esiintyi p\u00E4\u00E4osan n\u00E4yttelij\u00E4n\u00E4 1900-luvun alkuvuosien Happy Hooligan -elokuvissa. Blackton kuoli 66-vuotiaana Kaliforniassa liikenteess\u00E4 saamiinsa vammoihin. H\u00E4nen pitk\u00E4aikaisin puolisonsa oli mykk\u00E4elokuvat\u00E4hti Paula Blackton."@fi ,
"James Stuart Blackton, gewoonlijk bekend als J. Stuart Blackton, was een Amerikaanse filmregisseur uit de tijd van de stomme film, oprichter van de American Vitagraph Company en een van de eerste filmmakers die gebruik maakte van de technieken stop-motion en van getekende animatie. Blackton werd geboren in Engeland in 1875 en op zijn tiende verhuisde zijn hele familie naar New York City. In 1894 formeerden Blackton en twee andere ge\u00EBmigreerde Engelsen, Albert E. Smith en Ronald A."@nl ;
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