his section in my dissertation focuses not on the history of animation per se but on the evolution and progress of animation in films and in particular claymation which is one form of stop-motion animation. The desire to animate is as old as art itself. Animation is a form of movie magic with its origins in art form. The earliest examples are still drawings, found in Palaeolithic cave paintings depicting animals with multiple sets of legs in superimposed positions, that attempted to convey the illusion of movement. While such images came to life through fairy tales and folk lore, it was only during the 19th century -when inventions were made to make motion picture- that animated pictures became a real possibility. A live -action film and an animated film are different because the live -action camera captures a scene moving in real time, automatically freezing into separate still pictures that can then be projected on to a screen. In an animation film, the animator, on the contrary, can not film anything until and unless he/ she creates through drawings(2D animation) or models (3 D animation) or computer imagery every single frame of a film from scratch. While animation is definitely a highly creative medium, it entails time-consuming processes for an animator who should have vision, faith in the concept and creation, abundant patience and capacity for sustained efforts. THE DEVICES: The development of devices from crude form to highly technical gadget has played a key role in evolution of animation over the years. The earliest device to create an image of a moving picture is known as Zoetrope, invented in China around 180 AD. The modern day zoetrope contraption was produced in 1834 by William George Horner and is considered to be the beginning of the animation devices. The device is basically a cylinder with vertical slits around the sides. Around the inside edge of the cylinder there are a series of pictures on the opposite side to the slits. As the cylinder is spun, the user then looks through the slits producing the illusion of motion. Actually, even in present day animation classes for the beginners, the Zoetrope is being used to explain the early concepts of animation. The magic lantern, believed to have originated from China in the 16th century, is the precursor to the modern day projector. It consisted of a translucent oil painting and a simple lamp. When put together in a darkened room, the image would appear larger on a flat surface. The most significant early day animation device was Phenakistoscope (1831) disc, invented simultaneously by the Belgian Joseph Plateau and the Austrian Simon von Stampfer. The photographic sequence experiments done by English-born American Eadweard Muybridge in 1872, using 24 still cameras set up along side horse race track, have been of help to later generation of animators. The animated film took a major step thanks to a sophisticated version of Zoetrope, known as Praxinoscope, invented by French scientist Charles-Émile Reynaud in 1877, a painter of lantern-slides. It used the same basic mechanism of a strip of images placed on the inside >