Editing Pinscreen animation (section)

==Origin==
[[File:Écran d'épingles Baby Screen (de côté).jpg|thumb|Pinscreen used for animation (Baby Screen model)]]

The technique was invented and developed by [[Alexandre Alexeieff and Claire Parker|Alexandre Alexeïeff]] and his wife [[Claire Parker]] in their own studio in Paris, between 1932 (first tests) and 1935, when [[Claire Parker]] registered in her own name the {{lang|fr|Brevet d'Invention no 792340}} at the Direction de la Propriété Industrielle, Ministère du Commerce et de L'Industrie, République Française, Paris.<ref>[https://books.google.com/books?id=AvD7olaX74sC&pg=PT68 French Animation History – Richard Neupert – Google Books<!-- Bot generated title -->]</ref> They made a total of six very short films with it, over a period of fifty years. The films have short running time, because the device is difficult to use, and have a monochrome nature, due to the images being created using shadows over a white surface.

There is no material evidence that the [[National Film Board of Canada]] was involved in the development of the technique. The National Film Board of Canada did buy one of the pinboards built by them and, as guests of the NFB, on August 7, 1972, Alexeïeff and Parker demonstrated the pinscreen to a group of animators at the NFB. Due to [[Cecile Starr]] (friend of Alexeieff and Parker, and distributor of their work in the US) most insisting intervention talking to [[Norman McLaren]] that the opportunity should not be missed to preserve Alexeïeff's knowledge, this demonstration was filmed, and later released by the NFB as ''Pin Screen''. This film, along with "Pinscreen Tests" (1961), appear on disc 7 of the ''[[Norman McLaren]]: The Master's Edition'' DVD collection. In this film several animators can be seen in the end of the demonstration experimenting with the pinscreen board, including [[Caroline Leaf]].

Until his retirement in 2005, the National Film Board's [[Jacques Drouin]] remained involved in pinscreen animation. Drouin's pinscreen work included the 1976 film ''[[Mindscape (1976 film)|Mindscape]]'' {{lang|fr|(Le paysagiste)}}.<ref name=Furniss>{{cite book|last=Furniss|first=Maureen|title=Art in Motion: Animation Aesthetics|date=December 1998|publisher=[[Indiana University Press]]|isbn=978-1-86462-039-9|pages=54–57|url=https://books.google.com/books?id=aQ4mrirF5nkC&q=mindscape+drouin&pg=PA55|author-link=Maureen Furniss|access-date=17 February 2012}}</ref> He later passed his pinscreen on to [[Michèle Lemieux]], who used the pinscreen with support of the NFB for her 2012 film ''[[Here and the Great Elsewhere]]''.<ref name=here>{{cite web|title=Here and the Great Elsewhere|url=http://www.onf-nfb.gc.ca/eng/collection/film/?id=58938|work=Collection|publisher=National Film Board of Canada|access-date=17 February 2012}}</ref> In 2015, the [[Centre national du cinéma et de l'image animée|CNC]] acquired and restored the Épinette, the last pinscreen that Alexeïeff and Parker built in 1977.<ref>{{Cite web|url=https://www.skwigly.co.uk/justine-vuylsteker/|title=Interview with Justine Vuylsteker ('Embraced')|date=2018-06-13|website=[[Skwigly (magazine)|Skwigly]]|access-date=2020-01-07}}</ref> Eight artists were invited to train on the newly restored device, under the direction of Lemieux as part of an initiative to inspire a new generation of pinscreen artists. French animator Justine Vuylsteker was one of the artists selected for the intensive four-week residency on the Épinette. This residency led Vuylsteker to complete the short film ''Embraced''<ref>{{Cite web|url=https://justinevuylsteker.com/Etreintes|title=Étreintes - Justine Vuylsteker|website=justinevuylsteker.com|access-date=2020-01-07}}</ref> in 2018.