July 1996 MAGAZINE Vol. 1, No. 4 WORLD MAGAZINE July 1996

Editor's Notebook by Harvey Deneroff 4

The Mighty : by William Moritz 6 The director of such as !, The Man Who Planted Trees and The Mighty River talks with William Moritz about filmmaking, the environment and his teacher, Mathurin Méheut.

TVC, 1957-1997 by Jill McGreal 10 TVC, one of Britain’s most innovative studios is getting ready to shut down. Jill McGreal talks to John Coates, who succeeded founder , and celebrates 40 years of creativity.

Quirino Cristiani,The Untold Story of Argentina's Pioneer Animator by Giannalberto Bendazzi 14 In celebration of Quirino Cristiani's centennial, we are republishing Giannalberto’s classic profile of the Italian immigrant who made the world’s first two animated features.

Sue Loughlin:An Animator's Profile by Rita Street 20 A look at the films of Britain's Sue Loughlin, and how she explores themes relating to sports, as well as social reform and women's rights.

Robert Breer:Animator by Jackie Leger 24 Once of America's most prominent independent , Robert Breer continues to explore historical perspectives and experiment with new techniques. Jackie Leger looks at his career, past and present.

The Olympiad of Animation:An Interview with Fini LittleJohn by Harvey Deneroff 27 In 1984, ASIFA-Hollywood and the Academy of Motion Picture Arts & Sciences put on a unique mini-animation festival as part of Los

July 1996 Angeles' Olympic Arts Festival. Harvey Deneroff profiles the woman behind the Olympiad of Animation, along with listings of films, including the landmark poll of the 50 greatest animated films of all time.

Animation at the Olympics by Mark Segall 32 Art Culture and Technology (ACT) is attempting to bring animation to this year's Atlanta Olympics as part of an innovative multimedia installation. Mark Segall reports.

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Champions of Animation “Quirino Cristiani, The article, “Robert Breer: Animator.” he 1984 Olympiad of Untold Story of Argentina’s For our formal tribute to the Animation, which is com- Pioneer Animator,” by Giannal- Olympics, I would like to point T memorated in my inter- berto Bendazzi, tells the fasci- to my article, “The Olympiad of view with Fini Littlejohn, fea- nating and long forgotten story Animation: An Interview with tured a selection of what were of the trailblazing director who Fini Littlejohn.” Fini, whose billed as the greatest animated made the first two animated friendship I have long valued, films of all time, appropriately features, and the first one with was the moving force behind termed the “Champions of sound. Interestingly enough, the now fabled pocket anima- Animation.” We like to think that Cristiani had the quaint notion tion festival that was one of the Animation World Magazine is that feature animation is a medi- gems of the 1984 Olympic Arts an ongoing celebration of ani- um for political satire, rather Festival. mation champions—whe- than fairy tales. Then, again, For what’s going on, ani- ther it be filmmakers, films pioneers sometimes mation-wise, in the current or even studios. don’t know any better! Olympic games, check out Mark Prominent among Rita Street’s “Sue Segall’s “Animation at the this month’s champions Loughlin: An Ani- Olympics,” which details the is Frédéric Back, whose mator’s Profile” exam- efforts of Art Culture and superbly hand crafted ines the career and Technology (ACT) to bring ani- films such as Crac! work of an animator mation to the Olympic masses. have mesmerized a whose interest in Then, Frankie Kowalski, in her whole generation. social issues is “The Great Adventures of Izzy— William Moritz reflected in An Olympic Hero for Kids,” looks took advantage her recent at Hollywood’s most recent ani- of his recent public mated exploration of what the visit to the Los service Olympics are all about. Angeles area to chat with him. announcement for Amnesty In “So, What Was It Like?” The results are found in “The International (and even her The Other Side Of Animation’s Mighty Animator: Frédéric Levi’s commercial), seems an Golden Age,” union leader and Back.” appropriate choice for this issue animator Tom Sito takes a hard TVC, founded by the late which plays homage to the look at some of the myths and George Dunning, has always Olympic Spirit of international shibboleths of America’s anima- been one of the mainstays of cooperation. tion industry vis-à-vis the people the British animation industry, Once upon a time, Robert and studios responsible for the producing such landmarks as Breer (A Man with his Dog Out classic era of Hollywood car- Yellow Submarine, Snowman for Air, etc.) was one of a hand- toons. and When the Wind Blows. The ful of American animators that Howard Beckerman pro- announcement that studio would constantly show up at vides a meditation on the cred- head John Coates will be clos- screenings of experimental films. ibility factor in character design ing the company next year, has The recent explosion of the ani- and development in his “When led Jill McGreal to examine the mation scene has seemed to left The Bunny Speaks, I Listen.” company’s and Coates’ legacy Breer behind, but not really, as Meanwhile, Pam Schechter, in in “TVC, 1957-1997.” Jackie Leger points out in her “No Matter What, Garfield

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Speaks Your Language,” the effort that goes into some- explores the growing market for thing like Animation World licensing and merchandising Magazine very much worth- opportunities for cartoon char- while. acters, and how studios and Thus, I would like to invite vendors try to exploit the situa- you to take some time to email tion. (or even write us) about your ANIMATION WORLD NETWORK In our first festival round up, thoughts about what appears 6525 Sunset Blvd., Garden Suite 10 Bob Swain took advantage of in these “pages” (or think should Hollywood, CA 90028 the latest (noncompetitive) appear), which we will start Phone : 213.468.2554 Cardiff Festival to bring us up- gathering and publish in a reg- Fax : 213.464.5914 to-date on some of the latest ular “Letters to the Editor” sec- Email : [email protected] developments in animation tion starting next month. (Or, if technology, as well as what’s you feel more comfortable, feel going on in some of the top free to make your thoughts European studios. On the other known on the Discussion ANIMATION WORLD MAGAZINE hand, Maureen Furniss takes a Forum on the Animation World [email protected] leisurely look at the pleasures of Network.) PUBLISHER Zagreb 96, highlighting the —Harvey Deneroff Ron Diamond, President prize winners and the festival’s [email protected] Dan Sarto, Chief Operating Officer innovative use of the Internet. EDITOR-IN-CHIEF Finally, William Moritz gives Harvey Deneroff his considered (and at times ASSOCIATE EDITOR/PUBLICITY argumentative) opinions on Frankie Kowalski Gary Trousdale and Kirk Wise’s latest feature effort, The CONTRIBUTORS : Hunchback of Notre Dame, Howard Beckerman Giannalberto Bendazzi while Frankie Kowalski’s Desert Harvey Deneroff Island series provides a peek at Maureen Furniss some top ten picks from four Frankie Kowalski filmmakers whose works graced Jackie Leger Jill McGreal the 1984 Olympiad of Anima- William Moritz tion. Pam Schechter Mark Segall Letters to the Editor Tom Sito eing an editor of an Rita Street Internet magazine can Bob Swain B sometimes be a lonely Le WEBMASTER thing. Somehow, hit reports Guillaume Calop don’t quite have the same sex DESIGN/LAYOUT : appeal as seeing people actual- IMP Graphic e-mail : [email protected] ly looking at your journal at the Christa Theoharous local newsstand (and even ADVERTISING SALES plunking down a few dollars to North America : Wendy Jackson buy it). But like print journals, Europe : Vincent Ferri one of the ultimate compliments Asia : Bruce Teitelbaum is getting those letters to the edi- UK: Roger Watkins tor, which can often make all

5 ANIMATION WORLD MAGAZINE July 1996 The Mighty Animator: Frederic Back by William Moritz Moritz: Do all your animation films, from Abracadabra in 1970 until The Mighty River in 1993 belong to the Société Radio [the French language division of the CBC]?

Back: Yes, that’s right. I was an employee of Radio Canada—sometimes a free- lance, because depending on how interesting I found the work, sometimes I’d quit, and then return at a later date.

Moritz: Now they’ve closed down the animation section of Radio Canada ...

Back: Yes. And it’s too bad. Frédéric Back © SRC Hubert Tison at Radio eventy-two-year-old Frédéric opening of an exhibition of his Canada really gave me the Back, two time Academy animation drawings at the opportunity to work in good SAward winner for Crac! and Academy of Motion Picture Arts conditions. Before that, I wasn’t so The Man Who Planted Trees, was and Sciences. The exhibition, with interested in animation. The recently in for the art work from nine of his films, will National Board was doing lots run until August 25, although the of fine animation, but no other panels of The Man Who Planted place had good equipment and Artistic creation is always Trees and The Mighty River will be professional cameramen that taking a risk; you can’t sent to the Hiroshima Film Festival could do that kind of work. Then after August 11. I got a chance to Tison built up a professional guarantee how it will come animation studio at Radio Canada. out, there’s no safety in art. ask Mr. Back a few questions just before the opening night I had made many short pieces reception. of animation for music broadcasts

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and documentaries, so when I began with Radio Canada, I made mainly short films. But the improved conditions Tison offered meant a more complex, higher standard of animation, and I gradually learned to make better, more complex films. One of the good ideas Tison proposed to Radio Canada was an international exchange of animation films. Before that, and still now, there are regular exchanges of usual live-action television programs, but nothing with animation until Tison initiated it. It was very important, because it meant you could produce high- quality relatively cheaply, since for each film Radio Canada made, they got an The Mighty River additional 20 or more—one from © SRC each of the other participating The Mighty River (so that it seemed because after Radio Canada countries. spacious, multiplane and flowing dropped the animation depart- This exchange functioned for like the river), I was the only person ment, I learned that more than half about 15 years, and it only who ever got to use it. Where is it of the money that comes back to stopped because gradually too now? Radio Canada from sales of many people too often would buy product comes from animation poor, cheap animation films just to films, which are actually few in have something to exchange, and “Draw everything,” he told us, “it will all number: I made 9, the countries that worked hard for made 3, Graeme Ross made 2— higher quality were disappointed. disappear.” He was right. that means 15 or so animation It was really too bad it stopped, films gave as much income to since it gave work to animators in Moritz: At the same time, the Radio Canada as hundreds of many countries, as well as National Film Board was also hours of regular live-action Canada, and encouraged the being cut back. programs. And the animation films production of short films. also won hundreds of prizes at film Back: Unfortunately, yes. The festivals. Moritz: Is Hubert Tison still with problem today is that there are no Radio Canada? more artists and thinkers at the Moritz: One terrifying thought to head of organizations, only me is that since the same Radio Back: No, he retired. After the bureaucrats who make notes and Canada which closed down the animation department was gone, count numbers. They have no Animation Department owns your I quit, and there was nothing really ideas to offer. They don’t take films, they could presumably to interest Hubert. Closing down risks—and artistic creation is always withdraw them from circulation, animation was such a waste. The taking a risk; you can’t guarantee not show them, they could be lost, wonderful computer-assisted how it will come out, there’s no decay in the vaults. camera, which allowed me to safety in art. And the bureaucrats make so many camera move- actually don’t even seem to be Back: Well, at least now they ments, rotations and dissolves for able to count numbers very well, show them quite a bit, especially at

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The Man Who Planted Trees © SRC

fesitvals, where they are in have actually started animation time making your filmed images demand. And Man Who Planted work on a 10 minute film move and change, do you mind Trees and Mighty River are sponsored by Trees for Life, in seeing them as still book available on videocassette, so they illustrations? are used by teachers and environmentalists continually. In the book there are many Back: No, I think they work very details and facts that you well as books, and I always make Moritz: But even now, your earlier can study at leisure, and some special artworks just for the films, like the two based on learn, perhaps intellectually, books. Mighty River is particularly Algonquin and Micmac myths, are as you learn emotionally important as a book, because in hardly seen—though the artworks from the film. 24 minutes you can’t give too from them in this exhibit are very many facts, since the visual beautiful. In any case, does the information is so rich, you would demise of Radio Canada and the Wichita, Kansas, which will get dizzy if there were statistics, crippled National Film Board mean promote planting fruit trees in third too. But in the book there are that you can’t make any more world countries. Also, I never really many details and facts that you animation? stop working. Right after Mighty can study at leisure, and learn, River I made a number of book perhaps intellectually, as you learn Back: No, actually I could. I have illustrations, one about Inuits, one emotionally from the film. The had several proposals, even one about beluga whales, and of Mighty River book has been from National Film Board, but I course The Mighty River book itself. translated into Japanese, as well, promised my wife Ghylaine not to And I worked a lot with so I hope the Japanese fishing fleet take on another large animation Greenpeace, and other organi- read it and disappear. project, because she became a sort zations that protect animals, seals. of animation widow during the There’s always a lot of work to do. Moritz: Surprisingly, even Crac! long making of Man Who Planted worked very well as a book, I Trees and Mighty River. Now I Moritz: After spending so much thought. One of the things that I

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liked most in Crac! the film was the In there is now a book success, not just for me, but way great Canadian paintings— about him, and I was interviewed because there are so many Cornelius Krieghoff’s Merrymaking by the director of a television animators around the world who or Lucius O’Brien’s Sunrise on the documentary about him, but the do fine artwork that should be Saguenay, for example—just seem program was not really very good, exhibited, too. What you see on to “happen” in the course of the as they did not have enough the screen is not a reflection of action. When the ASIFA-Canada money to give the full impression each individual drawing or Bulletin devoted an issue to you in of the scope and color of Méheut’s sculpture, so it’s wonderful to have 1988, they printed a picture of achievement. That’s where I, too, a chance to see the artworks, and your early art teacher, Mathurin would have trouble with such a it can be very instructive to other Méheut, with his class (including project: I’m not a good enough artists. you)—and a few of his sketches. diplomat, a negotiator to make a When you’re in your little room He seems like such a romantic deal to support a project on by yourself drawing, it can be figure, you should make a film Méheut, as it would be another depressing: it’s so repetitive, and about him in which his paintings big film. you never know, drawing after could also “just happen” in the drawing, what will happen when course, since he is almost un- Moritz: That’s where we miss they get on film; you just have to known here. Hubert Tison. have faith in your project, and keep on. An exhibition like this Back: Not a bad idea. He’s getting Back: Yes indeed. I would have should be a stimulation to work better known in France: there’s a the idea, and he would make it hard, and keep steadfast in your museum devoted to him, and possible. My wife was also belief in the project, and give each traveling exhibitions. When he enormously supportive and artwork maximum quality. died, his wife gave some 4,000 helpful—too few animators have drawings to start the museum. His such a good, understanding work is a rich documentation of helper. something that no longer exists. During the war, when I was Moritz: Are any of your children studying with him, Brittany was animators? almost untouched, following its typical way of life for centuries. I Back: No, but in a way, they are all had the opportunity to go with involved with art. My daughter is him and make drawings beside a painter, and she also works with him. “Draw everything,” he told batiks. My younger son is an us, “it will all disappear.” He was illustrator, who specializes in right. Now in Brittany, there is historical costumes and settings. William Mortiz teaches film and hardly a port. No Bretons in And my older son is a biologist animation history at the traditional costume, no fishermen, who worked for the World Health no fish. No colorful nets of string Organization, for 10 years he was California Institute of the Arts. and rope, no iron and wood tools in Africa, and he teaches using his and boats: everything is plastic. It’s knowledge of graphics, including lost all its character and beauty. computer graphics: he’s very clever The Breton fishermen used to dress with computers. all in red or blue, and they would I’m very honored and happy repair their clothes with patches that the Academy is making this from other material so they were exhibition. Radio Canada framed like mosaics of colors, walking all these artworks, and then they paintings. What Méheut drew is a have been sitting around in a fantastic testimony, a documen- cellar. tation of this lost world. I hope this exhibition is a

9 ANIMATION WORLD MAGAZINE July 1996 TVC, 1957-1997 by Jill McGreal Director of TVC, about his first experience of riding occupies the to hounds. office right at the top of his central A Wet Tory studio, he English tradition, to surrounded by which John certainly the parapherna- T belongs, comes out of the lia of nearly 40 19th century through the mad years in the busi- Ruskin, the last great English critic, ness—awards ardent supporter of Turner, pas- and certificates, sionate opponent of . It photographs of moves through the decorative ide- many friends and alism of William Morris, takes in the colleagues; eccentricities of Lewis Carrol, per- proud, happy meates the compositions of Elgar moments and Delius, encompasses both the arranged careful- malice and the sublimity of Kipling’s ly round the walls prose, reappears in the deeply of the small, romantic films of Powell and friendly space. Pressburger, the common sense Wind in the Willows John, approach- writings of Oxford philosopher Courtesy of TVC London ing 70, joined John Austin and in the politics of here are moments in The TVC in 1957. pre-Thatcherite Toryism. The read- Wind in the Willows, TVC’s He’s a quiet, round, bearded man er will be able to add other names T feature-length animated with a faraway look in his eyes that to this list. adaptation of Kenneth Grahame’s in an instant turns into a twinkle. John Coates belongs here. He Edwardian children’s book, in An old-fashioned English gentle- can’t, for instance, locate himself which the romance with the land, man, semidisplaced in the closing within the radically-changed polit- that very English phenomenon, is years of the 20th century, who intense and magical. After Mole speaks nostalgically of the sixties and Rat rescue Portly, the young when all the pretty TVC paint and A natural Tory whose ideal- otter who has wandered too far trace girls wore miniskirts and ism today seems quaint downstream, they all return home shopped for trendy clothes on and ill-fitting within the by boat. When dawn breaks the Carnaby Street during their lunch Dorothy Parker range of landscape is suffused with a “sil- hour. A Kiplingesque character British politics. very, climbing phosphorescence” who peppers his talk with capital as the mists lift and another day letters, referring to himself and his on the river begins. To capture long time associates as The Old ical environment of the last two this—the essence, of Grahame’s Gang or, more affectionately, as decades. “I’m a very wet Tory. Well, book—requires a special mind-set, TOG. He lives in Kent with I’m a socialist really.” A natural Tory a certain kind of understanding, a Christine, his “Lady Love,” and rides who now cannot identify with the carefully guided team ... whenever he can. I catch the new politics of conviction; whose John Coates, Managing excitement when he reminisces idealism today seems quaint and

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ill-fitting within the Dorothy Parker with all its uncertainty, the global- range of British politics. Trapped in nostalgia and ization of communications Nevertheless, sidelined or not, a mythical past where through the Internet and the leap John Coates has given TVC a new chums like Ratty and forward into post-modernism have lease on life and a different per- Mole and the childlike left TVC (and John and The Old sonality since George Dunning Gang) behind, trapped in nostal- died in 1979. As the psychedelia of Toad could idle away gia and a mythical past where the sixties ebbed away, exempli- innocent days together. chums like Ratty and Mole and the fied in the unfinished fragment childlike Toad could idle away from The Tempest which George within it produces an instantly rec- innocent days together. left behind, John’s own interests ognizable visual culture of which John has had enough of the asserted themselves. In the three TVC’s work is manifestly a part. responsibility of keeping a bou- years before the appearance of tique style production company The Snowman, he turned around End of an Era going. There was a moment in the TVC from a commercials-led to an ast year John Coates gath- history of British production which entertainment-led company which ered his small, permanent, favored the small independent has subsequently produced a L production staff together and producer. Inevitably this moment string of successful TV Specials gave them all two years notice. By involved the setting up of Channel including Granpa and Father June 5, 1997, TVC’s 40th birthday, 4, the British broadcasting phe- Christmas; a feature film, When the production side of the com- nomenon which occurred in the Wind Blows, and a 6 x half pany will cease to exist. By 1982. Until then there were two hour series based on the Beatrix then,TVC will have made nearly broadcasters and only three chan- Potter books; he is currently work- 1,500 commercials, more than 70 nels available in the UK: the BBC ing on an adaptation of the Posy documentaries and over 80 enter- which was, and still is, responsible Simmons book Fred the Cat with tainment films—an enviable track for two channels, BBC1, estab- director Joanna Quinn and with record. It’s the end of an era. It real- lished 1936 and BBC2, established director Jimmy Murukami on an ly is. Maybe the move into Europe, 1962 and ITV, the commercial adaptation of John Burningham’s channel established in 1956, Oi! Get Off My Train. TVC’s last pro- which was, and still is, com- duction will be an adaptation of prised of different regional ITV another Raymond Briggs book, franchise holders who togeth- The Bear, for which John has er transmit across one national already written the end credits stat- network. All of these broad- ing that this is TVC’s last film. casting organizations are pro- The distinct, rounded, English duced in house, only rarely animation style of TVC’s recent pro- going out to independents to ductions, the emphasis on adap- make their programmes for tation rather than original works— them. What makes Channel 4 are both characteristic of the liter- distinct is that it has no in-house ary tradition. This narrative tradi- production—all its nonacquired tion is itself embedded in the programming is commissioned romanticism of the landscape from independent producers. painters, novelists like Scott, poets This situation created a boom like Wordsworth and unique in the creative-led, independent English formations like Gothic lit- production sector, which erature and Victorian architecture. allowed companies like TVC to And this list clearly belongs with grow and which lasted until the other list above. The coming recession hit in 1990. By that

together of the elements of the The Yellow Submarine time there were too many small tradition and the artists who work Courtesy of TVC London companies chasing too few

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commissions and staying into another studio. in business became a Meanwhile, it’s especially struggle. During the reces- galling for John to learn sion, when John Coates that The Enemy, nice Kate was raising the finance for Mallory, Warner Bros.’ the series, Studio Manager, can’t put TVC survived an entire her animators to work yet year on Snowman rev- and they are all hanging enue. In other words, to around idle in Warner Bros.’ stay in business and main- posh tain the confidence which premises. In a mood of defi- is crucial at that delicate ance, John had some little moment in financial nego- badges made up which say tiations, TVC had to con- “I haven’t been asked to sume its profits. The Tailor of work at Warner Bros.” The The post-recession Courtesy of TVC London remaining TVC staff wear economy has been char- them proudly. acterized by consolidation. The individual talents that once thrived Damon the Mower and Something of the in the higgledy-piggledy creative The Flying Man opened History of TVC ... soup of the eighties, when there up a new, nonstudio style y 1957, the Hollywood stu- was enough for everyone, have in British animation. dio era was coming to an run for shelter into the emerging Bend. Canadian animator larger production companies, now animators, first in the States and George Dunning was working for that times are leaner. These com- then in Europe. Hire costs trebled UPA’s London studio when it was panies are often locked into out- everywhere and the British market closed down. But George wanted put deals with TV franchise hold- has been decimated by the to stay in London, so he decided ers, thus tying up a large part of demands of a foreign feature to set up a new commercials stu- the resources available for inde- industry which can afford to dio, recruiting fellow countryman pendents. In this situation, the remove and retain all the indige- Richard Williams on a freelance small and genuinely independent nous talent from the marketplace. basis as a studio animation director producer has become increasing- John Coates has lost 10 of his ani- to help get TVC going. The time ly squeezed. mators to Warner Bros. and for the was propitious. Independent Worse, as TVC fought its way first time he has been forced to put Television had been established in out of recession with, first The some of the animation for his new the UK for less than a year and the World of Peter Rabbit and Friends production, The Willows in Winter, commercial break was something and subsequently The Wind in the of an enigma for British directors Willows, a new blow has and producers. As a result, struck—an acute interna- companies like TVC, a dedi- tional shortage of anima- cated commercial house head- tors caused by the aggres- ed up by an experienced sive recruitment policies of team, were instantly suc- American studios. The inter- cessful. national success of animat- John Coates was brought ed films like Beauty and the in to do the business side. Beast has led to a boom in Already established in a the production of American career at Associated feature production. Over a Redifusion, one of the origi- year ago, the American stu- nal ITV companies, as Famous Fred dios started competing for Courtesy of TVC London Assistant Controller of

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Programmes, John was directed by Joanna nevertheless restless and Quinn, whose short film bored. In typically credits have included Girls English fashion, a meet- Night Out, Body Beautiful ing between George and Britannia. It’s Joanna’s and John was arranged first time in commercial through a mutual friend production and she’s find- in a pub, as a result of ing the demands of a tight which a partnership schedule hard. The lack of was formed which was trained animators is an to last 22 years until The Snowman additional problem. But George’s death in 1979. Courtesy of TVC London she’s supported by John’s Dunning, a talented ture. During the press screening, calm professionalism and animator, fitted in his own work which was overrun by young peo- his belief that her natural exuber- around the production of com- ple dancing in the aisles, John ance and tremendous talent will mercials. The Apple (1959) was Coates experienced a moment of produce work of Oscar-winning made during “down time,” with excitement which became part of quality. It would be a fitting exit for several TVC staff working on indi- his vision for TVC’s future—the a fine company. vidual segments, and was fol- power to entertain. lowed by the award-winning John read the government Retirement? Don’t Even Damon the Mower and The Flying White Paper—“the only one I’ve Think About It! Man—all of which opened up a ever read”—on the setting up of fter TVC closes down its new, nonstudio style in British ani- Channel 4, with its promise of production arm, which will mation. Until then, only support for the independent pro- A be after the last production with his Eastern European sensi- duction community and its com- has been put to bed, John plans to bility and Bob Godfrey with his mitment to innovation and differ- slip into a new role as consultant to anarchic, goon-show surrealism, ence, with great interest. The other people’s projects, only com- were working outside the main- Snowman had been lying on his ing in from the rural idyll of his stream. home in Kent for a civilized sched- Dunning’s success brought a ule of lunchtime meetings. contract to TVC to make The She’s supported by John’s However he murmurs impercepti- Beatles series during the sixties calm professionalism bly that there may still be one or which ran on ABC Television in the and belief that her natural two projects that he’d like to do. I States from 1966-68. Yellow exuberance and talent will glance at his desk. There’s a bat- Submarine followed in 1968. John produce work of tered, schoolboys’ copy of Henry V Coates describes the occasion half-hidden in a pile of papers ... when George Martin invited a Oscar-winning quality. small group comprising himself, Jill McGreal owns and runs her George Dunning and desk for nearly a year and his £500 own London-based animation over to the Abbey Road Studios to option was running out. He hasti- production company, CODE- hear the first pressing of the ly assembled an 8 minute animat- NAME The Animation Agency. Sergeant Pepper album. Dunning, ic set to a tune composed by She produces television series for who had reservations about mak- Howard Blake and took it to Paul ing a cinema feature based on a Madden at Channel 4. He raised children and represents many TV series, was suddenly won over. £100,000 from Paul, £75,000 from well-known international direc- Yellow Submarine turned out to the publishers and mortgaged his tors for commercial work. She be a perfect match of music and house. The rest, as they say, is his- continues to write and teach image, a genuine celebration of tory. about animation and the sixties youth rebellion, a high- TVC’s new Cardiff- based pro- film in general. point of hippie ideology and cul- duction, Fred the Cat, is being

13 ANIMATION WORLD MAGAZINE July 1996 Quirino Cristiani The Untold Story of Argentina’s Pioneer Animator

by Giannalberto Bendazzi The following article originally appeared in the June/July and September issues of the French magazine Banc-Titre/Animation Stand. The following English translation by Charles Solomon was done for the December 1984 issue of Graffiti, published by ASIFA-Hollywood. This publication, in honor of the centeniarry of Quirino Cristiani’s birth, also includes a new introduction and an extra paragraph about Cristiani and Disney.--Editor

t was 1980, and during a festival lead me to track down the film’s home village of Santa Giuletta, held in Turin, Italy, I happened director, Quirino Cristiani, who was Italy; and eventually publish in I to have breakfast with a man I still alive and well in Bernal, 1983 a book on him and his work had never met before, Simòn Argentina; have him invited to his (Due volte l'oceano -- Vita di Feldman. He introduced Quirino Cristiani, pion- himself as an Argentinean iere dell'animazione) filmmaker (both anima- that reached him in time tion and live action: a to reward him against rarity); and hearing that I the oblivion he had was an animation his- experienced during the torian, he added, “I bet last 40 years of his life. you ignore the [fact that Now, being the the] first animated feature centennial of his birth, film was made in my I'm happy to celebrate country.” I replied that I the anniversary by knew about it, but my republishing this article, only source was a vague originally written in mention in a clipping 1982. given to me by my Since then, very little excellent colleague Bruno new has been discov- Edera. ered about the subject When back home, (probably some of the Feldman (who I still thank discs that accompanied for his collaboration) sent his third feature, Pel- me some photocopied udòpolis, as an Argen- press clippings he had tinean animator told me collected about the film at the last Annecy Fes- and the people who tival). The text is then still worked on it. correct--and a due hom- It was the beginning Drawing by Diógenes Taborda for El Apóstol age to one of our least of research that would Courtesy of Giannalberto Bendazzi known pioneers.

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ur story begins on drawn and animated the July 2, 1896, the sequence using tech- Oday Quirino Cris- niques he had learned tiani was born in the little from studying films by Italian village of Santa Émile Cohl that Valle had Guiletta, near Pavia; he was kept in his exchange. His the son of Luigi Cristiani, a studio could hardly be municipal secretary, and described as state-of-the- Adele Martinotti, a art, even then: he shot the housewife. His father, film frame-by-frame on the unfortunately, lost his job terrace of a house in and was unable to feed a Buenos Aires, using the family with five children. sun as his light source, America, the Mecca of the with wind ready to ruin a poor, especially the Italian shot at any moment. poor, beckoned; so Luigi Starting with this first film, Drawing by Diógenes Taborda for El Apóstol Cristiani went off to Argentina, Courtesy of Giannalberto Bendazzi Cristiani used cardboard where he found work. The cutouts, a technique he later rest of the family followed. That 1880) had come to Buenos Aires. perfected and patented. was in 1900. Valle had worked for the Lumière Cristiani was happy with the In Argentina, Quirino Cristiani Brothers and the Urban Trading results, as was the audience. Valle did not find the Indians with Co. as a cameraman and was enthusiastic. He wasn't feathers in their hair that he documentary filmmaker. He was interested in politics, but he knew expected. Instead he found probably the first man to employ the Argentines were. So was the Buenos Aires, a large city that was aerial cinematography (with expanding at a feverish pace. He Wilbur Wright, at Centocelle, near Now there were no longer Rome, in 1909). In Argentina, he also found friends and happiness. a president, and the sharks In his teens, the immigrant peasant became a producer, but his first discovered his love for drawing. love was the newsreel. And given of the Radical Party were He drew on the walls of houses; the Argentine love--and especially hidden in their dens. he sketched animals in the zoo; of the citizens of Buenos Aires--for and very briefly, he attended the political discussion and satire, what young animator. Valle then Academy of Fine Arts. At that time, could be better than newsreels reached an agreement with a Mr. newspapers were full of political with political cartoons in them? Franchini, who among other cartoons and comic strips. Quirino And who better to draw them activities, owned several movie began to hang around newspaper than this young man, already theaters. Together, they raised the destined for a bright future, and money for the most ambitious ready and eager to sell his stuff at He shot the film on project in the history of Latin a reasonable price? America Cinema: a feature-length the terrace, using the sun In 1916, in Buenos Aires, the political satire on Hipólito Irigoyen, as his light source, with newsreel “Actualidades Valle” had the country's new President. This wind ready to ruin a two-and-a-half minutes of was to be the first feature-length shot at any moment. animation entitled La intervención animated film ever made. en la provincia de Buenos Aires. offices, where he found editors Its subject: the intervention by El Apóstol willing to publish his caricatures. President Irigoyen against the ipólito Irigoyen, the So, without becoming famous, he governor of Buenos Aires, charismatic leader of the became known. Marcelino Ugarte. Irigoyen HRadical Party, won the Meanwhile, another Italian, charged him with dishonesty, and 1916 presidential elections by a Federico Valle (born in Asti in replaced him. Quirino Cristiani had large majority, thus ending the

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long rule of the conservatives. The El Apóstol had its premiere on conceived the film, made the Radical Party was the party of the November 9, 1917 at the Select drawings, and animated the lower middle class and the Theater (which co-producer characters. In those days, no one “populist,” activist segments of Franchini owned). "The film is thought of filmmakers--films were society. Irigoyen was an honest magnificent,” said the review in the spoken of something “produced” man, but somewhat absent- newspaper Critica, “and demon- by someone. Cristiani's life was complicated by the fact that Valle had hired Diógenes Taborda, known as “El Mono” (“The Monkey,” as he was apparently very ugly), to design characters for the film. El Mono was the most famous humorous cartoonist of the time; a veritable star, his vaguely art nouveau cartoons would sell any journal in which they appeared. But Taborda had no desire to devote his life to something he knew nothing about, and cared to know nothing Frame enlargement from Peludópolis showing Juan Pueblo confonting members of the junta. about. He would make two or Courtesy of Giannalberto Bendazzi three drawings and then turn the rest over to Cristiani, who could minded; the victim, some said, of strates the wonderful progress our do whatever he wanted ... as long unscrupulous associates. Moreover, national cinema has made.”La as Taborda's name got the largest he and his fellow Radicals lacked Razon agreed, saying it was, “A billing in the credits. Everyone was the polished style of the graphic work that reveals happy with this arrangement conservatives: they tended to be enormous labor, patience and (especially Valle, who was only long-winded, with a certain even genius.” A good many other interested in buying El Mono's tendency toward demagoguery. papers praised Valle, the film, and popularity), and so the deal had All these factors made Irigoyen an ideal target for the young cartoonist, who was eager to make fun of everyone and everything. The film, El Apóstol (The Apostle), showed Irigoyen wanting to bring morality to public life and eliminate corruption in Buenos Aires. To accomplish his lofty aims, he ascends to heaven where Jupiter lends the new president his thunderbolts. Irigoyen then hurled the redemptive fire at the city, which made for a most impressive Frame enlargement from Peludópolis showing Juan Pueblo, the Argentine everyman. blaze. The audience particularly Courtesy of Giannalberto Bendazzi enjoyed the final sequence, which combined models built by the the country. But hardly anyone been struck. The friendship French architect Andrés Ducaud noticed that Cristiani had the one between the two artists was sealed and special effects. true claim to authorship: He had when Taborda served as best man

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at Cristiani's wedding. (The press, Foreign Affairs. who had not heard otherwise, Here begins the most confused printed the name of Taborda as part of Cristiani's career. He could the artist who made El Apóstol, not earn a living as a filmmaker: forgetting the film's humble the Argentine market was just too “animator.”) limited, and the public showed El Apóstol was an hour and little interest in full-length animated ten minutes long and was said to films. He continued to submit be composed of 58,000 drawings, cartoons and political caricatures which means 58,000 frames, as to the papers. Irigoyen, the first the film was made utilizing cutouts. president elected in a manner All known copies of the film were faithful to the rules and spirit of the lost in a fire in Federico Valle's constitution and popular vaults in 1926. democracy, manifested none of the intolerance so characteristic of Without a Trace Latin America leaders, and took no hile El Apóstol was Quirino Cristiani in Santa Giuletta,on action to stop Cristiani, leaving the November 29, 1981, when he was being made and being honored by the local president's old satirist free to work shown, Europe, of government. for the mass media. W Courtesy of Giannalberto Bendazzi course, was still in the midst of the Cristiani now had two children, Great War. The countries of South or French ships in Argentine waters and the income from the sale of America decided to remain neutral, at the time. Irigoyen was furious his cartoons was apparently not though some sparks managed to at Luxberg, but did not publicize enough to support a family of four. reach the Río de la Plata. the episode, although it became He then started a sort of “gypsy” wanted Argentina to come into the subject of some of the best business whereby he rented a the war on their side at any price. porteños jokes of the time-- wagon and traveled to the poorer The Argentine military loved porteños (“people of the port”) was areas, where there were no movie German discipline, the German art the common name natives of theaters, and set up a folding of war, and the German army: Buenos Aires called themselves. screen and projector and showed they wanted to fight on the same Cristiani couldn’t wait to do a films, especially Chaplin shorts side as these masters. But Irigoyen, cartoon on the subject. He found mixed in with commercials that he like his party and the majority of new producers and in 1918 was made himself; the advertising side the population, was both anti- of the business was called Publi- military and anti-war. As he Cinema. It was an enormous seemed immune to all diplomatic He ascends to heaven success: crowds would even and public pressure, the Germans where Jupiter lends gather in the middle of the streets. decided to try duplicity. Baron von the new president And because of that, the municipal Luxburg, the Second Reich's gray his thunderbolts. authorities stopped it, charging eminence in Argentina, ordered a him with “disturbing the peace German U-boat to torpedo an and interrupting traffic.” Argentine ship, making sure “to able to offer the public the second Cristiani never gave up on leave no trace” (“sin dejar rastros,” animated feature ever made, Sin animation; on the contrary, he in Spanish), so the deed could be dejar rastros. This time around, made a number of shorts as the blamed on the Anglo-French however, there was no enthusiastic chance arose. There were two alliance, hoping popular public reception, nor did the press surgical films: Rhinoplastia and indignation would then force print a single word about it. For Gastrotomia (both 1925), made in Irigoyen to declare war. The plan “diplomatic reasons” (as the war collaboration with professors José failed: a boat was torpedoed and was still going on), the film was Arce and Ocsar Ivanisevitch. He sunk, but the survivors testified that seized by the police and made films about current events, there was no signs of either British disappeared into the Ministry of including sports, notably the fights

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of boxer Luis Angel Firpo--Firpo- His film satirized the corruption of asserting that the film came of no Brennan and Firpo-Dempsey (both the old president's associates, sectarian spirit. Then on the fateful 1923)--and Uruguayos forever showing the difficulties of keeping evening of September 16, 1931, (1924) on the victory of the the “Argentine ship of state” afloat he shook hands with the Uruguay soccer team. Humberto in an ocean filled with voracious provisional president, José Felix de garufa (Little Umberto's Frolic) Uriburu, who honored him with (1924), was inspired by the visit of his presence, sat in his chair and Umberto of Savoy, the young and But hardly anyone noticed crossed his fingers. carefree crown prince of Italy. In that Cristiani had the one The film wasn't a hit. The 1927, he became head of publicity true claim to authorship. audiences laughed at times, but for MGM locally, although this did generally thought the situation too not prevent him from making serious to be laughed at. Also, a animated commercials on the side. year-and-a-half after the film's And he began to set up the premiere, Irigoyen died in his bed. Cristiani Studios at 2121 Calle The Argentine people, who had Sarmiento. done nothing when he had been chased out of Casa Rosada, rushed Peludópolis into the street and squares, falling t was in this studio, in 1929, that prey to an irresistible flood of another act in the Italo-Argentine emotion. On the one hand, Ifilmmaker's career began. Cristiani felt the same emotions, Working from a script by Eduardo Peludópolis on the other, he understood that Gonzalez Lanuza, he began Courtesy of Giannalberto Bendazzi a film “against” the ghost of a making Peludópolis, his third friend of the people no longer had animated feature. Once again sharks. Now there were no longer the slightest chance of success. He Hipólito Irigoyen and Irigoyenism a president, and the sharks of the therefore withdrew it from was his target. (Irigoyen had been Radical Party were hidden in their circulation. elected president a second time in dens. What to do? Peludópolis (i.e., “the city of the 1928 by a two-to-one margin). Cristiani chose to take a middle- Peludo, or “Peludo City,” also refers Cristiani brought all his imagination of-the-road position. He showed to Irigoyen's nickname, Peludo) and technical discoveries into play. the corruption of Irigoyen and his was Cristiani's last major animated As usual, he used articulated followers (these scenes had already film. It was 80 minutes long with characters cut out from cardboard. been shot anyway ...), he showed sound (on disc)--making it the first He finished the film in 1931 and the generals who had taken animated feature with sound. The it had its premiere on September power, and, above all, he showed newspaper critics received it rather 16. Meanwhile, something had an average man of people (a favorably: “this work is happened. undoubtedly one of the most On September 6, 1930, a year important of our national cinema before the film's premiere, Irigoyen For “diplomatic reasons,” ... a tuneful, amusing and had been overthrown by military the film was seized by the charming film.” (La Razon) “There coup d'état. The increasingly senile police and disappeared are many reasons to be amused-- president had made one error after the caricatures themselves, the into the Ministry of another, and his fellow party songs, the comic ideas, the members had lost most of their Foreign Affairs. details.” (El Diario) “The images are prestige and credibility through too rigid, not smooth enough, but their dishonesty and corruption. cartoonist Cristiani shows a The coup pleased no one. but character called Juan Pueblo) who singular talent for the difficult art everyone agreed that, after all, it asked for good government and of animation.” (La Nacion) was a solution. respect for all rights. Further, he Peludópolis’ economic fiasco For Cristiani, it was a tragedy. offered a little preamble is in verse came as a severe blow to the 35-

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year-old filmmaker, who already series ended with its first not an animator, but a cartoonist had a long career behind him. installment. El Mono relojero is a who specialized in gaucho Cristiani realized that he could film of middling quality--a good, caricatures. Disney followed his never make it as a producer and professional production for the advice. creator of animated films in time. For the first time Cristiani Quirino's artistic career is Argentina. had abandoned cardboard cutouts in virtually over. Two fires, one in become a success: his films 1957, the other in 1961, destroyed reached Argentina with the charm He was only a cartoonist his entire oeuvre: negatives, prints, of their richness, their technical with a taste for satire, an original drawings, and papers. perfection, their economic power. artisan with a flair for The aging pioneer still keeps The little artisan from Santa Giuletta documents from his career--photos simply could not challenge so tinkering and little inscribed by presidents, ministers, powerful a studio. Moreover, he inventions. mayors; testimonials; honorary was never an “artist” or an inspired diplomas in English; etc.--but he poet like or favor of “classic” North American no longer works. He lives quietly Norman McLaren. He never had cel animation. Many people wrote with his family near Buenos Aires, an artistic vision of the world to at the time that this black and having sold his laboratory. A communicate, or the need to white short was the first Argentine vegetarian and a nudist, this frugal create a body of work. He was sound cartoon! man had never taken an airplane only a cartoonist with a taste for Cristiani became increasingly before his visit to Italy in November satire, an artisan with a flair for absorbed with his subtitling work, 1981, when he received an tinkering and little inventions. but still found time to make Enter invitation from the provincial So, during the '30s, he stopped pitos y flautas (Between Whistles government of Pavia. He visited making films and cut back on his and Flutes) in 1941. It was about the little country village of his birth creative activities in favor of soccer, is very short, and probably and was widely feted, especially technical ones: he formed a unsatisfying: Cristiani will not by the humble film critic who signs company and the Studios Cristiani willingly talk about it. His last film this article and who traced him to (which had moved to 460 Calle was Carbonada (the name of an the far side of the planet after a Jose Evaristo Uriburu) became one Argentine salad). It was made in four year search .... of the best movie labs in Argentina, 1943 and received the City Council specializing in the translation and Award. subtitling of foreign films. The little artisan from Santa Giannalberto Bendazzi is a Fables Giuletta simply could nimation, for him, was Milan-based film historian and not challenge so now a hobby. And towards critic whose book on Quirino the end of the 1930s, his powerful a studio. A Cristiani, Due voite l'oceana, was animation career had a brief revival when Constancio Vigil contracted published in 1983. His history of with Cristiani to produce a series Incidentally, Cristiani met Walt animation, Cartoons: One of shorts based on fables he had Disney, during Disney’s trip to written and published. South America in 1941, and Hundred Years of Cinema The first of these fables was El screened some of his films for him. Animation, is published in the Mono relojero (The Monkey He was a Disney fan, and, for a US by Indiana University Press Watchmaker). It premiered in time, the two thought about February 1938 and had a good collaborating on the Latin and in the UK by John Libbey. run. The City of Buenos Aries even American project Disney was honored it with a special prize. But planning. No deal was made, but Constancio Vigil did not want to Cristiani suggested that Disney put up any more money and the contact Molina Campos, who was

19 ANIMATION WORLD MAGAZINE July 1996 Sue Loughlin An Animator’s Profile by Rita Street ritish animator price of cels was sim- Sue Loughlin ply not within the lim- B always knew she itations of her small would have a career in student budget. She the world of art. Even remembers those first as a child she believed years at the school, she was destined to learning and experi- bring the beautiful menting with the images in her mind to medium, as a mixture life. However, the of ecstasy and tedium. piece in the puzzle she “I couldn’t believe I didn’t see as a child was allowed to spend and even as a young the whole day draw- woman, was that she ing. It was heaven. No would make a living one was going to say by making those I had to do other images move. “Art was things. On the other my favorite subject in hand, it seemed weird school and I knew I that it took so much would end up doing time to create anima- something art based. Sue Loughlin tion. It’s so labor inten- But when I went to sive. But the quicker the Liverpool Art School I initially ing, she was hooked. “I left it you worked, the quicker you wanted to do illustration. I only thinking, ‘God, that’s so brilliant. could see your character move discovered animation by attend- That’s what I’m going to do. I’m on the pencil test machine. And ing a lecture on animation histo- going to animate.’” once you’ve seen something ry. For me, it was like a revela- move, even though it flashes by tion.” To Give Something Life quickly, you want to rush back Loughlin had always thought nd animate she did. After and do all that work again, sim- of animation as “comic” or for completing her Bachelor’s ply because it is so amazing to children, but after that lecture, A of Fine Art at Liverpool, give something life.” after she saw that animation she went for her postgraduate While in school, Loughlin kept could also be theatrical and mov- degree at the ’s exploring the medium of art. She National Film and Television studied artists from different ages, The quicker you worked, School. There she learned the tra- how they approached their work, the quicker you could see ditional skills of an animator, the progression of their personal your character move. working as she says, mainly with style and the materials and tools pencil and paper because the they worked with. She was

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I couldn’t believe I was allowed to spend the whole day drawing. It was heaven.

about the horses but actually evaluating each other’s attire, young couples out for the day and impressed by all who are there to see and be seen. The horses are led out, look- ing—with Loughlin’s bold paint- ed lines—like great beasts from The Grand National by Sue Loughlin legendary Troy. The jockeys arrive and Loughlin brings their racing attracted early on to the leader the horses. When I went to art colors to life with single strokes of the Fauvists, Henri Matisse and school I thought I definitely had of purple, red, and blue. The race his experiments into the very to make a film about the race.” begins, and the sound of the essence of images, or Expression- Grand National is a moving crowd is at once deafening and ism. portrayal of the very “real,” even utterly silent against the pound- though it is painted with only ing of the horses’ hooves. At each Grand National black ink and dashes of color. The jump, riders and horses fall and er first short film, Grand film opens on the empty streets brush, stripped away from the National is almost an surrounding the stadium—the obstacle, flies toward the camera. Hhomage to Matisse’s quiet before the storm—then The horses come around the cor- strong lines, but it is also a send- shows the arrival of hundreds ner on the last 400 yards and up to Picasso, which is seen espe- upon hundreds of automobiles. two horses are neck and neck. cially in the strength of her hors- As the crowds unfold onto the The remaining riders’ colors blur es. Yet, Grand National is much stadium like an irrepressible tide, together in a rainbow of power more than the influences of great the eye of the camera moves and speed. Rhyme & Reason artists on Loughlin’s style. The through the crowds, stopping to crosses the finish line first and the piece has a strong personality all examine small huddles of race jockey heads to the Winner’s its own, reflective of Loughlin’s goers—blue collar workers com- own wit and passion. paring bets, rich women talking Circle. A typical day at the races. Growing up in Liverpool, the home of the Grand National, Loughlin remembers going each year as a young girl, looking through the great gates, watch- ing the attendees file in and wish- ing she could afford to go. “It was such a personal event for me,” Loughlin said, “It was the only major event in our small town each year and it lasted for three days. The rest of the year it [the stadium] was closed. One year, my Dad bought me some tickets for my birthday and I got to see The Grand National by Sue Loughlin

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But as the crowd moves out of apart, while painting another cel the stands into their taxis and on top. “I had a carpenter make I wanted that spontaneity, cars, the audience is left with it for me. It was trial and error which gets lost unanswered questions. Why do though because I had to have drawing first and then rendering later.

Social Reform and Women’s Rights ne of the most impressive projects completed early Oon with her newfangled lightbox, was for the Genesis World Tour of 1992. For Dreaming While You Sleep, a song about a reckless driver, Loughlin created images of cars driving through hill country. Her animation, which was projected during the tour, had atmospher- Amnesty International PSA ic blue backgrounds and for the ©Amnesty Intl. night scenes, bright yellow head- lights that whirled and sped people go to the races? What two peg bars, one on top of the other. Still, to keep the cels regis- around dizzying curves. Dreami- does racing and betting mean? tered, I have to keep my head in ng While You Sleep led to other And, if racing means so much, the same position each time. If I professional jobs about social especially to people in a small move it goes out of registration.” reform and women’s rights. town, what is left to look forward Although the system may sound For an Amnesty International to during those interminable days awkward, Loughlin says it is actu- public service announcement, between one Grand National ally comfortable, works fine and she created a world where an and the next? served her purpose even as she ordinary woman, a free sort of made the transition to profes- spirit, is torn apart from every- thing she has known. “It’s like a She could cross a road sional work while still in school. without looking and nothing would happen.

To complete Grand National Loughlin invented a new light- box so that she could paint direct- ly onto a cel without using a pen- cil first. “I wanted that spontane- ity,” she says, “which gets lost drawing first and then rendering later.” So she created a design that would allow her to put a piece of glass over a wet cel, Woman With A Purpose Art created for the 1993 Levis Jeans for keeping each cel about an inch Women Advertising Campaign—Foote, Cone & Belding/S.F.

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black cloud comes over and rips was like an organic thing that would happen.” her apart from her family,” says came alive,” says Loughlin, who The spot ends with the tiny Loughlin, who explains that the remembers that the only guide- woman approaching an enor- mous door. She pauses for a brief moment, then decides without a doubt there is no reason to be stopped by a mere door—no matter how big and ominous it happens to be—and easily push- es through. The women in this spot is a lot like the persona of Loughlin herself, a person who is unafraid to make her own way. When Loughlin discovered animation, she decided to make it her own. When she thought of a new way to create her art, she built herself a tool and launched her career—a career based on taking the seemingly everyday Amnesty International PSA © Amnesty Intl and making it controversial and turning the already controversial piece is full of symbolism, a tool lines she received from the ad into art. she finds essential in much of her agency were to give the woman A woman who has certainly storytelling. an attitude and to make her fulfilled her childhood dream, For Levi’s “Jeans For Women” small. “Well, I didn’t want to make Loughlin is not only an animator, campaign, Loughlin created her entirely small, only in com- she is definitely an artist in the Woman With a Purpose, a 30 parison to how big the city was. grandest sense of the word. second spot about a woman I wanted her to walk through who walks through all the many everything as if no dangers could obstacles a city can conjure up, touch her. She could cross a road unafraid. “The city in that spot without looking and nothing

Rita Street, a freelance writer

based in Los Angeles, is the

founder of Women in

Animation and former editor

and publisher of Animation

Magazine.

Amnesty International PSA © Amnesty Intl.

23 ANIMATION WORLD MAGAZINE July 1996 Robert Breer Animator by Jackie Leger obert Breer’s career as artist of the early 20th century, ranging poetry and music. and animator spans 50 years from the abstract forms of the When Breer returned to the R and his creative explorations Russian Constructivists and the in the late 1950s, the have made him an international structuralist formulas of the American avant-garde was thriv- figure. He began his artistic pur- Bauhaus, to the nonsensible uni- ing and films by Kenneth Anger, suits as a painter while living in verse of the Dada- from 1949-59. Using an old ists. Through his Bolex 16mm camera, his first films, association with the such as Form Phases, were simple Denise René Gal- studies based on his lery, which special- abstract paintings. ized in geometric Breer has always been fasci- art, he saw the nated by the mechanics of film. abstract films of Perhaps his father’s fascination with such pioneers as 3-D inspired Breer to tinker with , Viking early mechanical cinematic de- Eggeling, Walter Ruttman and Fer- The compositions are nand Léger. Breer acknowledges his enhanced by kitchen respect for this clatter in a free stream of purist, “cubist” cine- consciousness approach. ma, which uses geometric shapes moving in time and vices. His father was an engineer space. In 1955, he and designer of the legendary helped organize Chrysler Airflow automobile in and exhibited in a 1934 and built a 3-D camera to show in Paris enti- film all the family vacations. After tled “Le Mouve- studying engineering at Stanford, ment” (The Move- Breer changed his focus toward ment), which paved hand crafted arts and began the way for new experimenting with flip books. cinema aesthetics. These animations, done on ordi- During this period, nary 4” x 6” file cards have become Breer also met the Robert Breer the standard for all of Breer’s work, poet Alan Ginsberg Courtey of even to this day. and introduced him to his film Recreation (1956), Stan Brakhage, Peter Kubelka and Influences which made use of frame-by-frame Maria Menken were creating a ike many of his generation, experiments in a non-narrative new visionary movement. Breer Breer’s early work was influ- structure. Although Breer disdains found kindred spirits within the L enced by the various being labeled a beatnik, the film New York experimental scene. As European modern art movements does capture some aspects of beat Pop Art emerged as a phenome-

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non in the 1960s, Breer befriend- the quick movements of a Tex ed Claes Oldenburg and others. Avery cartoon and the wit of an He worked on the TV show, David electric comic strip. Brinkley’s Journal, filming pieces on art shows in Europe; at the Historical Perspectives same time, he made his debut reer continued to search for documentary on the sculptor Jean historical perspectives in his Tinguely in 1961, Homage to Bwork and discovered the Tinguely. Screened at the Museum color theories of Chevreul and of Modern Art, it reflects Breer’s Rood. He also began a series of interest in mechanical forms and minimalist pieces based on num- the fine art of moving sculpture; ber series, which were nonfigu- techniques he used in his work, as rative and based on geometry and his own kinetic sculpture was formal issues. 66, 69 and 70 rely sparked by Tinguely’s keen interest on formalist images from his early in mechanical gadgets, kinetic research into color paintings. movement and abstract forms. The 1970s brought Breer into Breer was influenced by the a more commercial world of ani- new performance art and “hap- mation and he worked for the penings” making waves in the Children’s Television Workshop in avant-garde of Europe and New 1971 doing animation for The York. He worked briefly with Claes Electric Company. His popular Oldenburg and his performance Gulls and Buoys relates back both pieces resulting in a 13 minute to the poetry of William Carlos film, Pat’s Birthday (1962). Breer Williams and the early rotoscop- also befriended artists like Nam ing techniques devised by Max June Paik, Charlotte Mormon and Fleischer back in 1916. Breer others exposed to the new trends explored the latter method in order in multimedia events. to give a live-action sense to the While he was working on the animated form. Disney and other film Fist Fight, he met Stock- commercial studios still use this hausen, then working in method to animate reality-based on Originale, a performance piece. scenes. With his new interest in The composer’s work soon came technology, Breer was invited to into vogue in American circles and Swiss Army Knife with Rats and Pigeons, with other artists to work he was asked to perform his piece Robert Breer, 1981 on the Pepsi Pavilion, making a set Courtesy of Robert Breer in New York’s Judson Hall in 1964. of mobile sculptures. While in Breer presented Fist Fight as part of relies on the roots of simple tech- Japan, he made Fuji, again using this performance, making the film niques of pencils or 4 x 6 cards for rotoscoping combined with a visual event in its own right. inspiration. While Breer rarely uses Japanese textural imagery. Always whimsical, Breer soon conventional storytelling tech- Returning to the United States, developed a line technique related niques, these films have a sense of for his next work, LMNO (1978), to the free form work of Swiss he once again sought out histori- painter Paul Klee. Such short nar- The films have a sense cal references. A homage to one of rative pieces as A Man with his of the quick movements the fathers of animation, Émile Dog Out for Air (1958) and Inner of a cartoon Cohl, it uses a simple French and Outer Space (1960) use the policeman as a main character. dynamics of drawing and line to and the wit of an Cohl became famous for his capture the essence of humor and electric comic strip. Fantoche stick figure, which pre- motion. Time and time again, he dated Mickey by 20 years. Using

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the simple tech- he prefers animation nique of 4 x 6 “close to home.” index cards, this Today, Breer con- film used every tinues exploring ani- imaginable tech- mated forms while nique from spray teaching animation paint to pencils. His at Cooper Union in next film, TZ, con- . When tinues this line of asked about his cur- energetic experi- rent work, he says ments and is a por- that he still relies on trait of his new liv- the history of cinema ing space then and early “gadgets” near the Tappan as the source of his Zee bridge, in New inspiration. His most York’s Hudson River recent work Now A Frog on the Swing, Robert Breer, 1988 Valley. Breer often Courtesy of Robert Breer You See It (1996), uses domestic im- now on exhibit at the agery in his work, incorporating American Museum of the Moving objects surrounding the artist to A continuous animation Image, in New York, uses a two fantasy sequences using Polaroid based on his explorations sided panel which spins into an photographs reworked with into the devices of cinema’s animated film much like a erasable marker pens. The com- Thaumatrope, the first cinematic positions, as always on 4 x 6 index early history (and prehisto- device that used persistence of cards, are enhanced by kitchen ry), which dazzled audi- vision back in 1826. Like two slides clatter in a free stream of con- ences by creating flipping back and forth, it is a con- sciousness approach. visual kinesis. tinuous animation based on his Breer’s work continued his explorations into the devices of experiments with various tech- cinema’s early history (and pre- niques and materials with Swiss history), which dazzled audi- Army Knife with Rats and Pigeons ences by creating visual kinesis. (1980), which again includes live- At the heart of his work is action and line techniques. the imagination of the artist Raising a family throughout mixed with the inquisitive mind the 1980s, Breer began to work of the mad scientist, delving into with what he considers “chil- lost archives of cinema to revive dren’s animation,” resulting in A forgotten art forms and giving Frog on a Swing (1988), which them new life for generations is dedicated to his daughter. He to come. This is the secret to also experimented with associa- Breer’s unique world. tive spontaneity in Trial Balloons, a metaphor for anything experi- mental. In recent years, Breer contin- Jackie Leger is a Santa ued to make one film per year. Monica-based documentary His Sparkill Ave! (1993) is a filmmaker interested in the homey study on his new neigh- roots of American borhood using hundreds of still . photographs, combined with A Frog on the Swing, Robert Breer, 1988 index card drawings. As always, Courtesy of Robert Breer

26 ANIMATION WORLD MAGAZINE July 1996 The Olympiad of Animation An Interview With Fini Littlejohn

by Harvey Deneroff first came to know Fini Littlejohn in 1982, when I took over as edi- Itor of Graffiti, the ASIFA- Hollywood newsletter. While not the celebrity her husband Bill was and is, I soon came to see that she was an important presence in the local and international animation scene. It was also around that time, that Fini started her cam- paign for what would become the Olympiad of Animation, which was held in conjunction with the 1984 Summer Olympics in Los Angeles. A sort of pocket film fes- tival, with many of the trappings of more established events like the Bill and Fini Littlejohn (in center), at their home earlier this year, Annecy, it briefly brought anima- flanked by documentary filmmakers Freida Moch and Terry Sanders. tion and the Olympics together in Courtesy of Fini Littlejohn a unique gathering which, unfor- then illustration, publicity and because in the theater [everyone tunately, has for many faded into stage design. However, it was as was] very friendly and warm.” It memory. an actress that her talents first wasn’t until she was invited back In a professional sense, Fini’s came into demand. She appeared with other emigree artists to par- involvement with animation has in a number of stage productions, ticipate in the 1993 Viennale that always been peripheral at best, but participated in the city’s “literary she learned that, “They fired every- remains no less passionate about cabaret” and had a part in Wily body two months [after I left], Forst’s classic film, Maskerade, star- including the director. So, I would- She was inspired by pro- ring Anton Walbrook. n’t have had much hope for a In 1937, at age 22, she real- future there. I didn’t know that. If ducer Les Goldman, who ized that, as a Jew, her career I did, I would have been less always “had great visions options in Austria were limited and homesick for .” for animation.” managed to get to the United Handicapped by language in States, where she had a uncle. She New York, she fell back on her art left rather suddenly and afterwards training, got an assignment as a the medium. Born in Vienna, always felt awkward about leav- book illustrator, but mostly paint- Josephine (Fini) Rudiger attended ing in the midst of a stage pro- ed window backgrounds for major the Institute of Arts & Crafts there, duction. She recalls that, “It took New York department stores. She initially studying fashion design, me a long time to get over that, moved to Los Angeles in 1938,

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where she briefly wound Scott, took the event up working at Disney’s, under its wing; sub- doing incidental charac- sequently, through ter design for Pinocchio, voice actor June as well as “design, Foray, the Academy research and story for of Motion Picture Arts Cinderella, and & Science agreed to other future projects.” (In play host at its this, she was probably Samuel Goldwyn one of the first women Theater in Beverly the studio used in any Hills. (It helped that sort of official creative Foray was on the capacity.) However, she Academy’s Board of again mostly earned her Governors.) living as a commercial The project now fell artist for department under the aegis of stores, as well as doing the Academy’s Doug- two other children’s las Edwards. Even- books. tually, Prescott Wright, a distributor and An Interest in experienced film fes- Animation tival hand, was he married Bill in brought in to man- 1943 and it was Bill Hurtz’ Logo Film for Olympiad of Animation age the actual event. based on Luzzati’s poster. Sthrough him that she (Critic and historian Charles continued to develop her interest bumped into Paul Ziffern’s wife, Solomon came in to help with the in animation. When he became who said, ‘Oh, I’m sorry for you.’ final programming.) In addition to active in ASIFA-International and (He was a big animal in the Fini’s idea for a retrospective, there attending various international fes- Olympics.) I said, ‘You could really came the idea to have “new films tivals, Fini tagged along. Soon, help me. I would like to have an made especially for the Olympics.” their Malibu home became a animation festival,’ ” and asked if She felt that “was a problem,” but favorite stopover for animation Paul could help. Initially he could- it really did not seem to phase her. artists from around the world. n’t, but did eventually point her in Her idea for the Olympiad of the right direction. I Will Make a Film For You Animation, she says, was inspired Fini’s initial idea was to have a ini then set out to personally by producer Les Goldman (How program of “all these wonderful go out and recruit people to the Grinch Stole Christmas) who Fmake films especially for the always “had great visions for ani- You have to go to the event dealing with the Olympics. mation.” And it was his ideas that studio and ask them for Thus, she took the occasion of her came to mind “when there was so permission to approach and Bill’s travels to festivals like much talk about the Olympic Arts Lucca and Annecy to recruit film- the artists. I had not Festival” in anticipation of the 1984 makers to the cause. “The first one Los Angeles games. known that. that said I will make a film for you,” Around this time, Fini broke her she recalls, “was . arm and was forced to largely get The second was [Osvaldo] around by bus, something which films we had seen for the past 30 Cavandoli. Those were the two is not easy in an autocentric town some years we’ve been going to biggies.” like Los Angeles. This did not stop festivals and that you never see In the process of soliciting films, her, and only “a day or two after here.” ASIFA-Hollywood, headed she learned first hand some of the my accident,” she recalls that “I by animation writer-voice artist Bill political realities of the day. Thus,

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were picked from films made by widespread publicity and critical students of high school age and acclaim seemed to carry over to younger. (All but one, an Italian the Los Angeles County Museum film, L’Importante e partecipare of Art’s ‘Enchanted Drawings’ (The Importance is to Participate), series; this history of Hollywood which turned out to be an audi- animation shorts has been consis- ence favorite, were screened sep- tently sold out, including the open- arately.) ing evening of silent films. ... After the opening night, a background Champions of Animation? man from Filmation came up to t the time, Fini expressed me glowing with pride, and said, some disappointment with ‘Isn’t it great, first the Olympiad and A the way the event turned now this!’ It was a comment that out. For instance, she did not real- seemed to make the Olympiad ly approve of the final selection of worthwhile.” And now, 12 years the 50 greatest animated films of later, one must say that despite her Opening logo film for Olympiad all time selected (the “Champions misgivings, her effort was certain- of Animation, supervised by of Animation”)by an international ly very worthwhile. committee of journalists, scholars, she was initially taken aback by festival directors and scholars. She The Spirit of the Olympics “the cool reception” she got from still dissents, feeling that the pro- he following is a list of the people in places like the Soviet gram lacked the balance and 32 finalists of films made for Union and . “Even scope she originally envisioned. T the Olympiad of Animation Feodor Khitruk,” she notes, “who She recalled that, “We had two in “The Spirit of the Olympics.” In was really a good friend, said ‘I Fischingers and two by Alexeieff retrospect, the film most people cannot make a film.’ Finally one of and Parker. [Most] were films that remember seems to be Bruno the East Germans said to me, ‘You had recently been in the minds of Bozzetto’s Sigmund, which shows cannot approach the artists, you people and not what we had con- how a little Viennese boy is affect- have to go to the studio and ask sidered the best films.” She also dis- ed by watching the Olympics on them for permission to approach liked the addition of a special pro- television. At the time, I also com- the artists.’ I had not known that.” gram, featuring “Walt Disney’s mended Graeme Ross’ 1...2...3, She also did not realize the fall- Tribute to Sports Goofy.” whose portrayal of what goes on out from the 1980 Nevertheless, as I wrote at the in a high jumper’s mind as he gets Olympics, which the US boycotted, time, the Olympiad was, “a real ready to do his stuff, had a funky which eventually led to a recipro- morale booster for the local ani- wit all its own. cal boycott of the L.A. games by mation community, giving its the USSR, which certainly did not members a chance, help Fini in her mission. once again, to be Nevertheless, some 140 new proud of being short films on “The Spirit of the called animation Olympics” from 18 countries were artists.” (Remember, submitted, of which 32 were this was at a time selected. In addition to Italy’s when the industry Bozzetto and Cavandoli, there seemed to be in a were films by such world-class ani- state of collapse, mators as Japan’s Yoji Kuri, with great amounts Canada’s Graeme Ross and of work being Hungary’s Sándor Bekesi. Due to shipped off to studios an unexpected interest from in East Asia.) I further schools around the world, 28 films noted that, “The event’s The Tale of Tales,,1980.

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The Champions Of Animation he following is the list of the 50 highest scoring films in the Olympiad’s poll of international jour- T nalists, scholars, festival directors and anima- tion programmers. (Some 100 were actually asked to participate, but only 35 responded.) The results were tabulated on a weighted scale and only 32 films were actually screened (in whole or in part) during the event itself. Films with identical ratings indicate a Au bout du fil (The Cat’s Cradle), Paul Driessen, 1974 tie.

1. 1...2...3, Graeme Ross, Canada 1. Skazka Skazok (Tale of Tales), Yuri Norstein, USSR, 2. Olympia—La Linea 114, Oswaldo 1980 Cavandoli, Italy 2. The Street, Caroline Leaf, Canada, 1976 3. Sigmund, Bruno Bozzetto, Italy 3. The Yellow Submarine, George Dunning, UK, 4. Olympic Fire, V. Jiranek & Josef Hekrdla, 1968 Czechoslovakia 4. Ruka (The Hand), Jiri Trnka, Czechoslovakia, 5. Games, Hans Bacher, West Germany 1965 6. Olympia, Anna Maria Zoltan, Hungary 5. Snow White and the Seven Dwarfs, David 7. It’s Not Whether You Win or Lose, Hand, 1937 Rastko iri , Yugoslavia 6. Crac!, Frédéric Back, Canada, 1981 8. Olympiad I, Marija Dail, USA 7. Une Nuit sur le Mont Chauve (Night on Bald 9. Olympic Boulevard, Mark Hubley, USA Mountain), Alexander Alexeieff & Claire 10. Victoria, Lehotay Zoltan, Hungary Parker, 1933 11. The Spirit, Stephan Boeder, West Germany 8. Ubu, Geoff Dunbar, UK, 1980 12. Torch, Wendy Vanguard, USA 9. , , USA, 1959 13. Hors-Jeu, Georges Schwisgebel, Switzerland 10. Satiemania, Zdenko Gasparavic, Yugoslavia, 14. The Imagination of the Marathon Runners, 1978 Yuji Kuri, Japan 11. Fantasia, Walt Disney, USA, 1940 15. The Spirit of the Olympics, John Amitay, Canada 12. Neighbors, Norman McLaren, Canada, 1952 16. Animarathon, Raul Garcia-Sanz, Spain 13. Paysagiste (Mindscape), Jacques Drouin, 17. Spitzensport, Any Coray, Switzerland Canada, 1977 18. Blind Olympics, Nancy Bens, Belgium 14. Duck Amuck, , USA, 1953 19. My Olympic Heroes, Talent Barli, USA 15. Premiere jours (Beginnings), Clorinda Warny, 20. Quitagulation, Gregory Burns, USA Lina Gagnon & Suzanne Gervaise 21. Road to the Olympics, Rejean Bourdages & 16. , Bruno Bozzetto, Italy, 1976 Shane Doyle, Canada 22. Olympics, Gert Vergauwe, Belgium 23. Breth of Seth, Melinda Littlejohn, USA 24. Olimpia Los Angeles 1984, Csaba Szorady, Hungary 25. Running In, Lesley Keen, Scotland 26. Alber-10, Anders Holt, Sweden 27. The Flight, Clara Basca & Gloria Canestrini, Italy 28. Rupert’s Olympic Feet, Larry Luria, USA 29. The Gallop, Sandor Bekesi, Hungary 30. Torch Mural, Tom Lapsley, USA 31. Muybridge in Motion, Kenji Theil, USA 32. The Spirit of the Olympics, Miguel A. Fuertes, Olympiad of Animation film, Sigmund, Spain Bruno Bozetto, 1984.

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31. Band Concert, Walt Disney, USA, 1935 32. Minnie the Moocher, & Willard Bowsky, USA, 1932 33. Dumbo, Walt Disney, USA, 1942 34. Une Vielle boite (An Old Box), Paul Driessen, Canada, 1975 35. Pas de Deux, Norman McLaren, Canada, 1967 36. Le Chateau du sable (Sandcastle), Co Hoedeman, Canada, 1977 37. Great-I.K.B., Bob Godfrey, UK, 1974 38. La Faim (Hunger), Peter Foldes, Canada, 1974 39. A Bogar (The Fly), Ferenc Rofusz, Hungary, 1980 Crac!, Frédéric Back, 1981 40. Damon the Mower, George Dunning, UK, 1971 41. Lapis, James Whitney, USA, 1966 17. Dojoji Temple, Kihachiro Kawamoto, Japan, 42. La Traversée de l‘Alantique à la Rame, Jean- 1976 Françoise Laguionie, 1978 18. King Size Canary, Tex Avery, USA, 1947 43. Gerald McBoing Boing, Robert Cannon, USA, 19. Motion Painting No. 1, Oscar Fischinger, USA, 1951 1949 44. Jeu de coudes (Elbow Game), Paul Driessen, 20. Tango, Zbigniev Rybczynski, Poland, 1982 Canada, 1979 20. La Joie de vivre (Joy of Life), Anthony Gross & 44. Steamboat Willie, , USA, 1928 Hector Hoppin, France, 1934 44. Gertie the Dinosaur, Winsor McCay, 1914 22. Harpya, Raoul Servais, Belgium, 1979 48. Dnevnik (Diary), Nedjelko Dragic, Yugoslavia, 22. Allegretto, Oscar Fischinger, USA, 1936 1973 22. Bad Luck Blackie, Tex Avery, USA, 1949 49. Feholofia (Son of the White Mare), Marcell 25. , Frank Mouris, USA, 1972 Jankovics, Hungary, 1981 26. L’Idée (The Idea), , France, 50. La Vita in scatola (Life in a Garbage Can), Bruno 1932 Bozzetto, Italy, 1967 26. What’s Doc?, Chuck Jones, USA, 1957 26. Blinkety Blank, Norman McLaren, Canada, 1955 Harvey Deneroff, in addition to his duties as 29. Au bout du fil (The Cat’s Cradle), Paul Driessen, Editor of Animation World Magazine, edits Canada, 1974 and publishes The Animation Report, an 30. Les Jeux des anges (Game of Angels), Walerian Boroczyck, France, 1964 industry newsletter.

Bill Hurtz’ Logo Film for Olympiad of Animation based on Luzzati’s poster.

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by Mark Segall nimation and the Olympics modest $10 entry fee. Entry Atlanta Mega - Mall) was likely to aren’t two things you auto- requirements weren’t strict: any see a lot of Olympic foot traffic. A matically associate. But film fitting one of two broad While 84’s Olympiad had the back in 1984, during the Los cachet of an official connection to Angeles games, the Olympic Arts Promoting independent the Olympics, ACT offered anima- Festival sponsored a four-day animation has been part of tors something just as important— Olympiad of Animation—featur- ACT’s mission from the start. the chance to be part of perma- ing screenings of a selection of the nent installations in Atlanta and best animated films of all time and New York long after the games films especially made for the event themes—Bodies in Motion and were over. that were shown at the Academy Building Communities—could be Like it’s parent organization, the of Motion Picture Arts & Sciences in entered; films could be old or new, Friendship Ambassadors Foun- Beverly Hills. And this past March, and filmmakers could send one dation, ACT is devoted to cultural animators all over the US opened entry or several. The shows’ ten- exchange between countries. It’s their ASIFA newsletters to find the tative location (the Underground FAF’s high-tech branch: where following call for crafts, folklore and entries: humanities meet the “Art Culture new media. Promot- and Technology ing independent (ACT) is seeking animation has been animated works by part of ACT’s mission independent film- from the start. Dur- makers, to be ing 1995’s Fourth shown as part of a World Women’s con- huge multimedia ference, ACT show- installation to run ed a program on throughout the Beijing Train Sta- Olympics (July 19 tion’s 120-square to August 4).” meter Jumbotron The ads men- screen: film and vi- tioned a $250 deo by women honoraria for each artists, including ani- work that was Kakania by Karen Aqua mators accepted, and a Courtesy of ACT and Joanna Priestley.

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An Overarching Concern fable about greed. or the Atlanta event, besides Others were picked running ads and announce- because they typi- Fments, ACT mailed out 600 fied a particular cul- or 700 entry forms. Response from ture or place— the animation community was Sharon Shimazu’s enthusiastic. Submissions came to Mr. Right, Debra producer Iva Kaufman’s Manhattan Callabresi’s Quilted office from all over the US and by Hand. Films Canada and as far away as France. aimed at children Iva, curator Somi Roy and assistant were highlighted curator Amy Morley viewed over along with films by 50 videotapes, and finally chose animators age 15 around 20 for the installation. An or younger. The overarching concern was to most energetically Atlanta Lowdown by Bob Hutchinson Courtesy of ACT choose films suitable to an inter- animated pieces, national, multilingual audience— such as Karen timedia works. After the Mall man- films that do not rely on dialogue Aqua’s stunningly choreographed agement changed its mind about or narration to get their point Perpetual Motion and Kakania, fit having the show, Ms. Kaufman across. the Bodies in Motion theme. Some lined up a new venue: the 3,000 Beyond that, different pieces square foot library at the Atlanta were chosen for different reasons. College of Art’s Woodruff Arts Some fit well into a videowall or The idea is to create a new Center. The move from the Mall multimedia set-up—what you revenue stream for arts may lose ACT a few sports fans, might call ambient animation— funding—to funnel but puts the installation closer to abstract loops of color and sound. for-profit money into a museum, a symphony hall and Some covered social issues—smok- non-profit projects. many Olympics-related arts and ing, violence, ecological destruc- cultural events. Engineered and tion, the rights of women and chil- designed by ACT’s Howard Weiner dren. Emily Hubley contributed do not fit any of the themes per- and David Miller, the installation Enough, a grant-you-three-wishes fectly, but were picked just because has the sponsorship of Shaw Ross they made Importers & Distributors (fine wine Iva and Amy & spirits) of Miami, Florida. laugh—John R. Dilworth’s StreetSmart Dirdy Birdy, he Olympic selections will John Schnall’s also be part of ACT’s most Buy My Film, T ambitious post-Olympics pro- Nancy Kee- ject: supplying the content for gan’s Sophie. soon-to-be-installed StreetSmart The anima- kiosks in NYC. Twenty-five percent tions will be of ACT’s contribution will be ani- part of a mul- mation, the other 75% a mix of timedia instal- videos, documentaries and other lation along arts-related material. The first five with docu- kiosks will be at City Hall and the mentaries, Queens, Brooklyn, Bronx and Smoking on the Hush, Hush Tip by John Serpentelli, experimental Staten Island borough halls. students from John B.Turner School,Prints on Progress, films, and vi- Ultimately there will be 50 and the University of Pennsylvania of Nursing deo and mul- throughout town, their material Courtesy of ACT

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tailored to different cultures and post-Olympics sites for the Atlanta Mark Segall is a writer who spe- available in several languages. reel in Chicago, Washington, D.C., cializes in labor journalism and People will be able to mail order Miami and San Francisco, and is the animations they see from the scouting other major US cities. public service. He co-authored kiosks. ACT will also raise revenues Internationally, the selections will How To Make Love To Your Money for future projects by selling kiosk be shown at the Beijing Train advertising. The idea, says Iva Station, and other large public (Delacorte,1982) with his wife, Kaufmann, is to create a new rev- spaces in Asia and Europe. They Margaret Tobin. This Fall, he will become Editor of ASIFA-East’s Some films do not fit any of the themes, but were picked aNYmator newsletter, which he because they made us laugh. currently designs and writes for.

enue stream for arts funding—to may also eventually appear on the funnel for-profit money into Web; both Friendship Ambas- non-profit projects. If successful, sadors Foundation and ACT plan the kiosks will be displayed in other to have websites up and running cities. The animations will also this fall. ACT material has been and appear at Studio 64, a spacious will continue to be part of the arts-oriented meeting place sched- EarthPledge (http://www.earth- uled to open in New York’s Chelsea pledge.org/) and EarthChannel district in August. (http://www.earthchannel.com/) Nationally, ACT has lined up sites.

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