Martin Lindsey

10-19-11

The Sinking of the Lusitania, Film Analysis #3 for ANI460

Produced by Windsor McCay

1918

Windsor McCay’s classic animated recreation of the sinking of the Lusitania served the purpose of a

cartoon news reel in the absence of movie cameras and actors to re-enact the tragedy. McCay used the

technique to a great degree of emotionally charged success. This was a compelling piece to me

particularly because of our recent reading and discussions of animation as a legitimate method of

documentary.

From the beginning of the film he uses visually interesting ways of keeping my attention. His choice to

use still imagery alternated with the animated sequences keeps the audience engaged with the

narrative.

McCay really mastered perspective in this film. The way the submarine comes out of the bottom left

corner of the frame looks like many real world camera shots that have since become standard,

particularly in naval war movies. In the same scene he captures dual perspective dramatically. The

above-water view of the torpedo generating bubbles on the surface as the German sub turns away from

the Lusitania was contrasted with the next shot showing the torpedo’s propellers creating a subsurface

bubble wash as it continued rushing towards the ill fated passenger liner. The two fish swimming next to

the Lusitania, expressing surprise, and then turning tail to speed out of the way of the oncoming

projectile just before it hits the ship accentuated the tension of the scene.

The next sequence showed great transition by use of effects. The smoke of the first explosion fades out

to a sequence of famous faces whose simultaneous deaths in one day would certainly have shocked the

American public of the time. Still shots and descriptions of Elbert Hubbard, Charles Klein, Alfred

Vanderbilt and Charles Frohman contributed the sense of real loss of life of real people. I’m sure this

would have generated a high state of empathy in the viewing audience. I sense it in myself almost one

hundred years later. McCay closes out the theme of this sequence by using the dissipation of the

explosive smoke screen to transition to the next scene.

Other generally effective work was the eye level view of survivors floating in the open sea and life boats

bobbing on the waves. I’m really impressed by his water animation because it is a skill that I want to

learn. Some of the close up views of rough waters have an “arty” look but that actually adds visual

interest to the film. His long views of the ocean against the Lusitania in the last minute of the movie,

especially the foaming final moments are unbelievably realistic. The plumes of water gushing into the air

as she submerges rounds out the effect.

As I write I wonder what Windsor McCay used for reference to recreate such vivid moving imagery like

the explosions, smoke and water. Whatever his inspiration McCay the entertainer showed himself more

than capable of producing serious and persuasive animated work.