DOCSLIB.ORG

Réalisateurs Permanents Et Pigistes De L'animation (Sections Française Et Anglaise) De L'office National Du Film

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Réalisateurs Permanents Et Pigistes De L'animation (Sections Française Et Anglaise) De L'office National Du Film Document generated on 10/01/2021 7:19 p.m. Séquences La revue de cinéma Réalisateurs permanents et pigistes de l’animation (sections française et anglaise) de l’Office National du Film Maurice Elia L’animation de l’Office National du film Number 91, January 1978 URI: https://id.erudit.org/iderudit/51202ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this document Elia, M. (1978). Réalisateurs permanents et pigistes de l’animation (sections française et anglaise) de l’Office National du Film. Séquences, (91), 166–169. Tous droits réservés © La revue Séquences Inc., 1978 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ RÉALISATEURS PERMANENTS ET PIGISTES DE L'ANIMATION (SECTIONS FRANÇAISE ET ANGLAISE) DE L'OFFICE NATIONAL DU FILM Ces filmographies, précédées de la date et du lieu de naissance des réalisateurs, nous ont été communiquées par l'O.N.F. Elles ont été complétées, dans la mesure du possible, parles films faits en dehors de l'O.N.F. et ceux réalisés récemment. M.E. 168 Don ARRIOLI (Rochester. 1936) Les DREW (Londres, 1939) The Specialist (1971) La Terre est habitée! / What on Earth I (1966) Tilt / 77/f (1972) (en collaboration avec Kaj Pindal) Man : The Polluter (1973) Rx for Export (1967) Jean BÉDARD (Roberval, 1947) The Underground Movle (1972) The North Wind and the Sun : A Fable by La Ville / Big City (1970) Aesop (1972) Ceci est un message enregistré / (en collaboration avec Rhoda Leyer) This is a Recorded Message (1973) TAie Energy Carol (1975) Gerald BUDNER (Toronto, 1926) Paul DRIESSEN (Nimègue, 1940) A propos d'architecture / Yellow Submarine (1968) A Is tor Architecture (1959) (participation au film de George Dunning) (en collaboration avec Robert Verrall) Le Petit Yogourt / The Little Yogurt (1969) Le Monde de David Milne / Tiki-Tiki (1970) The World of David Milne (1963) (participation au film de Gerald Potterton) La Cathédrale d'Exeter / £xefer (1972) Le Bleu perdu (1971) Paul Kane chez les Amérindiens / Paul Kane goes West (1972) Air! (1972) Au bout du fil / Cat's Cradle (1973) Laurent CODERRE (Ottawa, 1931) Une vieille boîte / An Old Box (1975) Métamorphoses / Metamorphoses (1968) L'Assassinat d'un oeuf / Les Fleurs de Macadam / The Killing of an Egg (1977) The Asphalt Flowers (1969) David (1977) Zikkaron (1971) Jacques DROUIN (Mont-Joli, 1943) Francine DESBIENS (Montréal, 1938) Trois exercices sur l'écran d'épingles Les Bibites de Cromagnon / d'Alexeïeff (1974) The Little Men of Cromagnon (1967) Le Paysagiste (1976) Le Corbeau et le renard (1968) Viviane ELNÉCAVÉ (Le Caire, 1945) Du coq à l'âne (1973) (en collaboration avec Suzanne Gervais) Notre Jeunesse en auto-sport / Our Sports Car Days (1969) Bob DOUCET (Montréal, 1940) L'Oeil / Eye (1972) What Do You Do? What Are You Doing? (1976) Rien qu'une petite chanson d'amour / Just a Little Love Song (1974) Georges GEERTSEN (Viborg, 1938) Winston (1970) Dans un parc / The Men in the Park (1971) Life in the Penitentiary Prison (1975) Suzanne GERVAIS (Montréal, 1944) Cycle (1971) Du Coq à l'âne (1973) (en collaboration avec Francine Desbiens) Les croquis sont de Laurent Coderre Climats (1974) 169 Rupert GLOVER (Londres, 1909) The Ught Fantastlck (1974) g» ë- %,„^ Sidney GOLDSMITH (Toronto, 1922) ~\ Le Poisson, denrée périssable / Fundamentals of Fish Spoilage (1962) S ' Richesses de la terre / \ Riches of the Earth (1966) % TIW La Détection du poisson par l'électronique / Electronic Fish Finders (1969) Champs de l'espace / Fields of Space (1966) René JODOIN (Hull, 1920) Espolio (1970) Comment fonctionne le moteur à jet / Sous l'arc-en-ciel / Under the Rainbow (1972) An Introduction to Jet Engines (1959) Satellites du soleil / Notes sur un triangle / Satellites of the Sun (1974) Wofes on a Triangle (1967) Sphères / Spheres (1969) Pierre HÉBERT (Montréal, 1944) (en collaboration avec Norman McLaren) Op Hop / Hop Op (1965) Wolf KOENIG (Dresde, 1927) Explosion démographique / Sur le pont d'Avignon (1951) Population Explosion (1967) (en collaboration avec Jean-Paul Ladouceur) Autour de la perception / Capitale de l'or / City of Gold (1957) Around Perception (1968) (en collaboration avec Colin Low) Notions élémentaires de génétique (1970) Glenn Gould / Glenn Gould - Off the Record Père Noël, Père Noël / (1959) (en collaboration avec Roman Kroitor) Santa Claus Is Coming Tonight (1974) Festival in Puerto Rico (1961) C'est pas chinois / A Piece of Cake (1974) Stravinsky / Stravinsky (1965) (en collaboration avec Gilles Gascon) (en collaboration avec Roman Kroitor) Steeltown (1967) Co HOEDEMAN (Amsterdam, 1940) (en collaboration avec Rex Tasker) La Dérive des continents / No Act of God (1967) Continental Drift (1968) Maboule / Oddball (1969) Ryan LARKIN (Montréal, 1943) Matrioska (1970) Citérama / Cityscape (1964) Le Hibou et le lemming / Syrinx (1965) The Owl and the Lemming, an Eskimo Legend En marchant / Walking (1968) (1971) Street Musique (1972) Tchou-Tchou (1972) Caroline LEAF (Seattle, 1946) Le Hibou et le corbeau / Sand or Peter and the Wolf (1969) The Owl and the Raven, an Eskimo Legend Orfeo (1971) (1972) How Beaver Stole Fire (1972) L'Homme et le géant (1975) Le Mariage du hibou / Lumaaq (1975) The Owl Who Married a Goose (1974) Le Château de sable / The Sand Castle (1977) La Rue / The Street (1976) 170 The Metamorphosis of Mr. Samsa (1977) André LEDUC (Verdun, 1949) Ishu PATEL (Jalsan, 1942) Tout écartlllé (1972) Ainsi vint la mort / Monsieur Pointu (1975) How Death Came to Earth (1971) (en collaboration avec Bernard Longpré) Conception et contraception / About Conception and Contraception (1972) Bernard LONGPRÉ (Montréal, 1937) About Puberty and Reproduction (1974) About VD (1974) Test 0558 (1965) Perspectrum (1974) Dimensions (1966) Histoire de perles / Bead Game (1977) En février (1967) L'Evasion des Carrousels / Carousel (1968) Janet PERLMAN (Montréal, 1954) Tête en fleurs / Marie (1969) Lady Fishbourne's Guide to Better Table Nébule (1973) Manners (1976) Branch et Branch (1974) "Le Poulet", clip multicultural / Multicultural Clip "Chicken" (1977) Monsieur Pointu (1975) (en collaboration avec André Leduc) Kaj PINDAL (Copenhague, 1927) Les Aventures de Piou-Piou / Yvon MALLETTE (Montréal, 1935) The Peep Show (1962) Métrofolle / Boomsville (1967) La Terre est habitée! / What on Earth (1966) The Family that Dwelt Apart (1973) (en collaboration avec Les Drew) Au pays de King Size / King Size (1968) Pierre MORETTI (Montréal, 1931) Un Cheval à toute vapeur / Un enfant... un pays / Horsing Around (1973) A Child in his Country (1967) Véronika SOUL (Baltimore, 1944) Cerveau gelé / Love (1969) Tax: The Outcome of Income (1975) Bronze / Bronze (1969) Un Poème dit / A Said Poem (1975) N'ajustez pas (1970) Gayle THOMAS (Montréal, 1944) Modulo : Variations on a Design (1973) Neige / It's Snow (1974) Grant MUNRO (Winnipeg, 1923) Ron TUNIS (Montréal, 1937) Two Bagatelles (1953) Les Animaux en marche / (en collaboration avec Norman McLaren) The Animal Movie (1966) Ma Carrière financière / (en collaboration avec Grant Munro) My Financial Career (1962) La Maison de Jean-Jacques / (en collaboration avec Gerald Potterton) The House that Jack Built (1967) Caprice de Noël / Christmas Cracker (1963) Le Vent / Wind (1972) Canon (1964) Clorinda WARNY (Gand, 1938) (en collaboration avec Norman McLaren) L'Oeuf / The Egg (1971) Les Animaux en marche / Petit Bonheur / Happiness Is (1972) The Animal Movie (1966) (en collaboration avec Ron Tunis) John WELDON (Belleville, 1945) Joutes / Toys (1966) None for Me, Thanks (1972) You've Read the Book, Now See the Movie Tour en l'air (1973) (1975) Boo Hoo (1975) Pas de cadeau pour Johnny / Le Mouvement image par image / No Apple for Johnny (1977) Animated Motion (1977) Spinnollo (1977) .
Load more

Recommended publications
  • UPA : Redesigning Animation
    This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously
    [Show full text]
  • Here Comes Television
    September 1997 Vol. 2 No.6 HereHere ComesComes TelevisionTelevision FallFall TVTV PrPrevieweview France’France’ss ExpandingExpanding ChannelsChannels SIGGRAPHSIGGRAPH ReviewReview KorKorea’ea’ss BoomBoom DinnerDinner withwith MTV’MTV’ss AbbyAbby TTerkuhleerkuhle andand CTW’CTW’ss ArleneArlene SherShermanman Table of Contents September 1997 Vol. 2, . No. 6 4 Editor’s Notebook Aah, television, our old friend. What madness the power of a child with a remote control instills in us... 6 Letters: [email protected] TELEVISION 8 A Conversation With:Arlene Sherman and Abby Terkuhle Mo Willems hosts a conversation over dinner with CTW’s Arlene Sherman and MTV’s Abby Terkuhle. What does this unlikely duo have in common? More than you would think! 15 CTW and MTV: Shorts of Influence The impact that CTW and MTV has had on one another, the industry and beyond is the subject of Chris Robinson’s in-depth investigation. 21 Tooning in the Fall Season A new splash of fresh programming is soon to hit the airwaves. In this pivotal year of FCC rulings and vertical integration, let’s see what has been produced. 26 Saturday Morning Bonanza:The New Crop for the Kiddies The incurable, couch potato Martha Day decides what she’s going to watch on Saturday mornings in the U.S. 29 Mushrooms After the Rain: France’s Children’s Channels As a crop of new children’s channels springs up in France, Marie-Agnès Bruneau depicts the new play- ers, in both the satellite and cable arenas, during these tumultuous times. A fierce competition is about to begin... 33 The Korean Animation Explosion Milt Vallas reports on Korea’s growth from humble beginnings to big business.
    [Show full text]
  • Introductory Animation Principles Principles of Animated Motion Inspiration
    Introductory Animation Principles Principles of Animated Motion Inspiration • Norman McLaren • Born in1914 in Stirling, Scotland. Died in Montreal, 1987. • NFB > Focus on Animation > Norman McLaren • McLaren 2014 Norman McLaren • The National Film Board of Canada was founded in 1939. • The British documentary film-maker John Grierson was appointed to be the first Head of the NFB. • In 1941, Grierson asked his friend and colleague McLaren to join the NFB, to be in charge of producing short animated films for the war effort. McLaren had been working in England and New York, using direct animation (drawing directly on 35-mm film). • At the Board, McLaren recruited young artists from across Canada to assist him, like George Dunning, Grant Munro and Rene Jodin. This group of individuals eventually became the animation department at the NFB. • The early films were done very inexpensively with a minimum of means because of scarce resources due to the war, but the films were completed with charm and vitality. • After WW II, the animators at the Board were able to focus their attention on more personal projects. Norman McLaren • After WW II, the animators at the Board were able to focus their attention on more personal projects. • McLaren became recognized internationally for his innovative technical achievements: • Drawing on film - he made “Begone Dull Care” (1949) made with Eve Lambert, with music by the Oscar Peterson Trio • Pixilation - he directed/animated actors frame by frame in front of the camera • Animated sound - when he drew and photographed optical sound, for films like “Neighbours” (1952) and “A Chairy Tale” (1957) for example • “Neighbours” won an Oscar in 1952.
    [Show full text]
  • NORMAN MCLAREN RETROSPECTIVE at Moma
    The Museum of Modern Art 50th Anniversary NO. 7 no FOR IMMEDIATE RELEASE NORMAN MCLAREN RETROSPECTIVE AT MoMA As part of NATIONAL FILM BOARD OF CANADA: A RETROSPECTIVE, Norman McLaren, master animator and founder of the Board's an­ imation unit in 1941, will be honored with a retrospective of virtually all the films he made at NFBC. Part One of MoMA's NFBC Retrospective, ANIMATION, runs from January 22 through February 16, and presents a survey of 150 animated films. Five programs of the extraordinary and influential work of Norman McLaren will be presented from February 12 through 16. "Animation came to the National Film Board of Canada in 1941 with the person of Norman McLaren. In 1943, after having recruited George Dunning, Jim MacKay and Grant Munro, it was McLaren who was put in charge of the first animation workshop. The earliest films were craftsmanlike, having a more utilitarian than aesthetic character. After the war the time of the artist came about. The spirit and goals of the animation unit changed; the styles and techniques became more and more refined leading to today's sophisticated animation." —Louise Beaudet, Head of Animation Department, Cinematheque quebecoise, Montreal "Norman McLaren (Stirling, Scotland, 1914) completed his first abstract films in 1933 while a student at the Glasgow School of Art, Here he attracted the attention of John Grierson, who invited the young man upon graduation to make promotional films for the General Post Office in London. McLaren worked for the GPO from 1936 until 1939 when, at the onset of war, he moved to New York.
    [Show full text]
  • Norman Mclaren: Between the Frames
    Dobson, Nichola. "Bibliography." Norman McLaren: Between the Frames. London: Bloomsbury Academic, 2017. 163–165. Animation: Key Films/ Filmmakers. Bloomsbury Collections. Web. 28 Sep. 2021. <>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 28 September 2021, 09:43 UTC. Copyright © Nichola Dobson 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 163 BIBLIOGRAPHY Aitken, Ian. Film and Reform: John Grierson and the Documentary Film Movement. London: Routledge . 1990. Aitken , Ian. (Ed.). Encyclopedia of the Documentary Film . New York : Routledge , 2006 . Auslander , Philip . From Acting to Performance: Essays in Modernism and Postmodernism . London : Routledge , 1997 . Auslander , Philip . ‘ Reactivation: Performance, Mediatization and the Present Moment ’, in Maria Chatzichristodoulou , Janis Jeff eries and Rachel Zerihan (Eds), Interfaces of Performance . Farnham, Surrey : Ashgate Publishing, 2009. Beck , Jerry. (Ed.) Animation Art . London : Flame Tree Publishing , 2004 . Beveridge, James. John Grierson: Film Master , New York: Macmillan, 1978, pp. 80– 81. Beveridge , Nina . Th e Idealist: James Beveridge, Film Guru , http:// www.beevision.com/ JAB/ father1.shtml (accessed 12 February 2014). Bial , Henry . (Ed.) Th e Performance Studies Reader . New York : Routledge , 2004 . Butler , Judith . ‘ Performative Arts and Gender Constitution ’, in Henry Bial (Ed.), Th e Performance Studies Reader . New York : Routledge , 2004 . Craft on , Donald . Shadow of a Mouse . Berkeley : University of California Press, 2013. Curtis , David . ‘Animated Cinema’, ‘Th e Movie’, Th e Illustrated History of the Cinema. Issue 33. London: Orbis Publishing, 1980, 654. Cutler, May Ebbitt. ‘Norman McLaren Refl ections on a Life’, Canada Cinema , vol.
    [Show full text]
  • Norman Mclaren: Between the Frames
    Dobson, Nichola. "Influential Arts." Norman McLaren: Between the Frames. London: Bloomsbury Academic, 2017. 109–132. Animation: Key Films/ Filmmakers. Bloomsbury Collections. Web. 30 Sep. 2021. <http://dx.doi.org/10.5040/9781501328800.ch-004>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 30 September 2021, 11:41 UTC. Copyright © Nichola Dobson 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 109 Chapter 4 I NFLUENTIAL ARTS McLaren found inspiration and infl uence in many aspects of his life, with early talent undoubtedly informed, by his family and their interior decorating busi- ness. A fl air for this could be seen in early examples of drawing and design completed while he attended Stirling High School and then Glasgow School of Art. It has been outlined elsewhere 1 that he was infl uenced by early interests in music and dance and these rather substantive aspects of interest are examined in more depth later in this chapter. Th is section considers some of the earlier, formative experiences that remained with him throughout his career, from his Art School education, through to some of the pioneering animators, and which he would later cite as being so infl uential to him. Th e chapter begins with a discussion of his painting habit; something which would remain with him throughout his life and would even be used as a meta- phor when describing his process of direct animation: ‘And so my militant phi- losophy is this: to make with a brush on canvas is a simple and direct delight – to make a movie should be the same’.
    [Show full text]
  • Arxiu Xcntric
    ARCHIVO XCÈNTRIC. Autores y películas Ahwesh, Peggy She Puppet Aigelsreiter, Thomas Key West Akerman, Chantal D'Est Hotel Monterey Je Tu Il Elle Jean Dielman, 23 Quai du Commerce, 1080 Bruxelles Les Rendez-vous d'Anna Entretien avec Chantal Akerman Autour de Jeanne Dielman Saute Ma Ville La Chambre Entretien avec Babette Mangolte Entretien avec Aurore Clément News from Home Andersen, Erik Opus 74, version 2 Angerame, Dominic Continuum Premonition Deconstruction Sight Line of Fire In the Course of Human Events Battle Stations - A Navel Adventure Anònima 1126 Dewey Ave., Apt. 207 Arnold, Martin Alone. Life Wastes Andy Hardy Pièce Touchée Passage à l'Acte Azzellini, Dario Disobbedienti Bajtala, Miriam Im Leo Ben (Benjamin Vautier) Je ne vois rien, je n'entends rien, je ne dis rien La Traversée du port de Nice à la nage Faire un effort Regardez-moi, cela suffit Berliner, Alan The Sweetest Sound Nobody's Business Intimate Stranger Bewegung, 5. November Ungustl Atom Bokanowski, Patrick Au Bord du Lac La Femme qui se poudre La Plage Déjeneur du Matin L'Ange Brakhage, Stan Dog Star Man: Prelude Dog Star Man: Part III Dog Star Man: Part IV Ephemeral Solidity Dog Star Man: Part I Dog Star Man: Part II Chartres Series Black Ice Stellar Autumnal Anticipation of the Night The Harrowing & Tryst Haunt Three Homerics Study in Color and Black and White Naughts Night Music Brehm, Dietmar Blicklust Korridor The Murder Mystery Party Macumba Organics Bruckmayr, Didi Ich Bin Traurig Burger, Joerg Peter Kubelka: Restoring Entuziazm Cale, John Police Car Chapelle, Pola Journey to Lithuania Child, Abigail Mutiny Chodorov, Pip End Memory Christanell, Linda Fingerfächer Federgesteck Moving Picture For you Picture Again NS Trilogie - Teil II: Gefühl Kazet All can Become a Rose Change Mouvement in the inside of my Left Hand Clair, René Entr'Acte Cmelka, Kerstin Neurodermitis Collage, Theatergruppe Autoabentung Conrad, Tony The Flicker Crosswaite, David Film No.
    [Show full text]
  • The Animated Movie Guide
    THE ANIMATED MOVIE GUIDE Jerry Beck Contributing Writers Martin Goodman Andrew Leal W. R. Miller Fred Patten An A Cappella Book Library of Congress Cataloging-in-Publication Data Beck, Jerry. The animated movie guide / Jerry Beck.— 1st ed. p. cm. “An A Cappella book.” Includes index. ISBN 1-55652-591-5 1. Animated films—Catalogs. I. Title. NC1765.B367 2005 016.79143’75—dc22 2005008629 Front cover design: Leslie Cabarga Interior design: Rattray Design All images courtesy of Cartoon Research Inc. Front cover images (clockwise from top left): Photograph from the motion picture Shrek ™ & © 2001 DreamWorks L.L.C. and PDI, reprinted with permission by DreamWorks Animation; Photograph from the motion picture Ghost in the Shell 2 ™ & © 2004 DreamWorks L.L.C. and PDI, reprinted with permission by DreamWorks Animation; Mutant Aliens © Bill Plympton; Gulliver’s Travels. Back cover images (left to right): Johnny the Giant Killer, Gulliver’s Travels, The Snow Queen © 2005 by Jerry Beck All rights reserved First edition Published by A Cappella Books An Imprint of Chicago Review Press, Incorporated 814 North Franklin Street Chicago, Illinois 60610 ISBN 1-55652-591-5 Printed in the United States of America 5 4 3 2 1 For Marea Contents Acknowledgments vii Introduction ix About the Author and Contributors’ Biographies xiii Chronological List of Animated Features xv Alphabetical Entries 1 Appendix 1: Limited Release Animated Features 325 Appendix 2: Top 60 Animated Features Never Theatrically Released in the United States 327 Appendix 3: Top 20 Live-Action Films Featuring Great Animation 333 Index 335 Acknowledgments his book would not be as complete, as accurate, or as fun without the help of my ded- icated friends and enthusiastic colleagues.
    [Show full text]
  • CSIF/Calgary Public Library 16Mm and Super 8 Film Collection
    CSIF Film Library CSIF/Calgary Public Library 16mm and Super 8 Film Collection Film Running Time Number Title Producer Date Description (min) A long, hard look at marriage and motherhood as expressed in the views of a group of young girls and married women. Their opinions cover a wide range. At regular intervals glossy advertisements extolling romance, weddings, babies, flash across the screen, in strong contrast to the words that are being spoken. The film ends on a sobering thought: the solution to dashed expectations could be as simple as growing up before marriage. Made as part of the Challenge for Change 1 ... And They Lived Happily Ever After Len Chatwin, Kathleen Shannon 1975 program. 13 min Presents an excerpt from the original 1934 motion picture. A story of bedroom confusions and misunderstandings that result when an American dancer begins pursuing and English woman who, in turn, is trying to invent the technical grounds of 2 Gay Divorcee, The (excerpt) Films Incorporated 1974 divorce 14 A hilarious parody of "Star Wars". Uses a combination of Ernie Fosselius and Michael Wiese special effects and everyday household appliances to simulate 4 Hardware Wars (Pyramid Films) 1978 sophisticated space hardware. 10 Laurel and Hardy prepare for a Sunday outing with their wives 5 Perfect Day, A Hal Roach Studios (Blackhawk Films) 1929 and Uncle Edgar Kennedy, who has a gouty foot. 21 Witty, sad, and often bizarre anecdotes of Chuck Clayton, the 73-year-old former manager of the largest cemetery east of 6 Boo Hoo National Film Board of Canada 1975 Montreal, told as he wanders nostalgically through its grounds.
    [Show full text]
  • April 2015 Vol
    Help Generations help kids generationsfoundation.com 514-933-8585 APRIL 2015 www.theseniortimes.com VOL. XXIX N O 5 “WE” GENERATION HONOURED FOR CARING TO ACT pp. 3, 4, 18, 19 Advisory service and accompaniment for people over 55 looking for a retirement home. MONTREAL, LAVAL, LAURENTIANS, LANAUDIÈRE, MONTÉRÉGIE 450-966-0001 Toll free 1-855-966-0001 We are here [email protected] / www.plusbelle-lavie.com for you 24/7 You are unique, as are our services. And it’s free! Youth who change the world — and us We devote this issue to children — their desires, their needs Governor-General’s and their eff ect on us and society. Enjoy our feature stories Caring Canadian Awards about young people who make a diff erence. presented to 12 outstanding youth p. 3, 4, 18, 19 Barry Lazar: empty nester makes waffl es p. 10 Animation Festival, not just for the kids p. 10 Natalie Bercovici: children are our future p. 20 Sibling friction when deal- ing with dementia p. 25 Sun Youth seniors enjoy camping with kids p. 26 Th e present and future for Cuba’s children p. 28-29 Imagine The Grief Of Losing Your Spouse or a Parent. Happy Passover! Happy Easter! Funeral Pre-Arrangements Will Ease The Pain. Joyeux Pessah! Talk It Over With Your Loved Ones. Joyeuses Pâques! FAMILYSIDE 1155 Robert-Bourassa Blvd. #1312 For FREE information Montréal (Québec) H3B 3A7 Rainer Schmalhaus Tel. 514-395-2929 rschmalhaus@ [email protected] arbormemorial.ca 514 606-9426 Wishing all our clients and friends a Happy Easter & a Happy Passover! It’s not too late to buy Florida property.
    [Show full text]
  • The Film-Work of Norman Mclaren in the Context of His Objectives
    The Film-Work Norman McLaren Terence Dobson A thesis submitted in accordance with the requirements for the Degree of Doctor of Philosophy in the University of Canterbury University of Canterbury 1994 Contents page Abstract iii List of Illustrations iv Preface v Introduction vii Part One Chapter One An Informative Drawing 1 Chapter Two The Early Years 23 Chapter Three McLaren at the G PO Film Unit 57 Part Two Chapter Four New York Interlude 103 Chapter Five Canada 128 Part Three Chapter Six Technical Processes 170 Chapter Seven Confluence and Conflict in Synchromy 197 Chapter Eight Venus and Mars 218 Conclusion 237 Chronology 248 Bibliography 249 Interviews, Films and Recordings 281 ill Abstract This thesis examines the film-work of Norman Mclaren in the context of his objectives. The thesis is divided into three parts, based on chronological divisions in McLaren's life. The first part deals with McLaren's formative years in Scotland and England and examines his early exposure to the social, artistic and institutional influences that were to shape his filmic output. The second part deals with Mclaren's maturation in the USA and Canada. His reaction to the contrasting working environment he found in each of the two countries is examined. In order to show McLaren's development more clearly, both parts one and two are based on a chronological sequencing. The third part of the thesis examines specific issues in relation to Mclaren and his work and as such is concerned principally with his mature output. McLaren's films contain incongruities, conflicts and apparent inconsistencies.
    [Show full text]
  • L'animation Dans Les Compagnies Privées Au Québec
    Document generated on 10/03/2021 6:01 p.m. 24 images L’animation dans les compagnies privées au Québec Portrait d’une industrie Jeanne Painchaud Cinéma d’animation Number 43, Summer 1989 URI: https://id.erudit.org/iderudit/22926ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this article Painchaud, J. (1989). L’animation dans les compagnies privées au Québec : portrait d’une industrie. 24 images, (43), 51–54. Tous droits réservés © 24 images inc., 1989 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ DOSSIER CINEMA D'ANIMATION L'ANIMATION DANS LES COMPAGNIES PRIVEES AU QUÉBEC PORTRAIT D'UNE INDUSTRIE par Jeanne Painchaud EST-IL POSSIBLE DE FAIRE DU CINÉMA D'ANIMATION AU QUÉBEC EN DEHORS D'INSTITUTIONS COMME l'ONF ou Radio-Canada? Il y a bien quelques productions artisanales, mais qu'en est-il des boîtes qui se spécialisent en animation, ou du moins qui réservent une importante partie de leurs activités à ce domaine? Après une brève enquête sur l'industrie privée de l'animation, on se rend vite compte de la diversité de chacune des compagnies, tant en ce qui concerne leurs moyens (techniques et financiers), que les secteurs dans lesquels elles oeuvrent.
    [Show full text]