In the 1940s, Sergei M. Eisenstein criticized Disney’s animations for the unnatural feel of the backgrounds depict in them. One of the reasons may be attributed to Disney’s use of the multiplane camera. This essay focuses on examples of the use of the multiplane camera during the 1930s and 1940s. The multiplane camera was so structured as to be able to do animation with miniature sets as well as celluloid paper. Technical skills required for the equipment differed from those for conventional cel animation, and therefore, people with experience in working with miniature sets and live-action filming were needed to deal with it. It is considered that the marriage between miniature sets and live-action filming made possible by the multiplane camera bought not only 3D effects, but also an unnatural feel.
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