Animation: a World History Volume III: Contemporary Times Giannalberto Bendazzi
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This article was downloaded by: 10.3.98.104 On: 01 Oct 2021 Access details: subscription number Publisher: CRC Press Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK Animation: A World History Volume III: Contemporary Times Giannalberto Bendazzi Europe Publication details https://www.routledgehandbooks.com/doi/10.1201/9781315720746-3 Giannalberto Bendazzi Published online on: 17 Nov 2015 How to cite :- Giannalberto Bendazzi. 17 Nov 2015, Europe from: Animation: A World History, Volume III: Contemporary Times CRC Press Accessed on: 01 Oct 2021 https://www.routledgehandbooks.com/doi/10.1201/9781315720746-3 PLEASE SCROLL DOWN FOR DOCUMENT Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. 3 EUROPE Great Britain: The Wonderful intended for adult audiences, and quite deliberately so. 1 That policy was formulated on the basis of trying to be Years different from other television channels. Animation for It is not possible to discuss British animation2 from the adults was scarcely seen on British television.’5 Channel 1990s onwards without talking about Channel 4. 4 was instrumental in the production of some remarkable Channel 4 was created in 1981 as a public utility by an films of the 1980s, from the works of David Sproxton and Act of Parliament. Its purpose was to be an alternative to Peter Lord (the founders of Aardman Animations) to those BBC and ITV, and it started broadcasting on 2 Novem- of the Quay brothers, to Murakami’s When the Wind Blows, ber 1982. Unlike the public utility that was the BBC, to Alison De Vere’s The Black Dog. Channel 4 – though public – didn’t receive any public At the beginning of the 1990s, Michael Grade, Chan- funding. All of its programs were financed by its commer- nel 4’s chief executive, forwarded a proposal for a possi- cial activities, including advertising.3 ble privatization of the channel. After some months, he British animation peaked at the end of the 1980s. From changed his mind and decided to maintain Channel 4 as 1989 to 1996 it was dominated by short films that vied for a public service. Privatization would have risked reducing the Oscar category,4 mostly commissioned by Channel 4. It the channel’s artistic freedom. was extraordinary that a television channel – an entity usu- Channel 4 faced, and solved, many different prob- ally devoted to all that is commercial and profit-making – lems. From the outset, the animation product had to be produced and financed experimental animation that was submitted in a different way to the ‘classic’ half-hour TV often hermetic and difficult and certainly not readily program. Animation was costly to make, which led to the appealing to a wide range of viewers. creation of shorts (in addition, animation is best suited to The result was a patronage system of coproductions short productions). The channel’s animation had to gain (only rarely were works completely financed by Channel 4). high audience shares. To achieve this, animation shorts ‘The bulk of Channel 4’s commissioned animation was were broadcast in two different slots: a five-minute one at 1 By Maddalena Ramolini. 2 We thank Andrew Osmond for his important contribution. 3 Originally, Channel 4 was a subsidiary network of the Independent Broadcasting Authority (IBA). Later it became the property of Channel Four Television Corporation, a public entity, after the IBA’s abolition. Channel 4 also owns the Welsh public channel S4C. 4 In 1989, Mark Baker was nominated for The Hill Farm. In 1990, the award went to Nick Park for Creature Comforts and a nomination to Nick Park for A Grand Day Out. In 1991, the award went to Daniel Greaves for Manipulation. In 1992, Paul Berry was nominated for The Sandman, Peter Lord for Adam, and Barry Purves for Screen Play. In 1993, the award went to Nick Park for The Wrong Trousers and nomina- tions went to Mark Baker for The Village, Bob Godfrey and Kevin Baldwin for Small Talk, and Stephen Palmer for Blindscape. In 1994, the award went to Alison Snowden and David Fine for Bob’s Birthday and nominations went to Erica Russell for Triangle and Tim Watts and David Stoten for The Big Story. In 1995, the award went to Nick Park for A Close Shave. In 1996, Peter Lord was nominated for Wat’s Pig. There were three nominations a year until 1991, and five each year after 1992. 5 ‘Animation and Channel 4’ (1987) by Paul Madden, animation consultant at Channel 4. Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 Chapter 3: Great Britain: The Wonderful Years 69 7:55 p.m., after Channel 4 News, and another fifteen-minute She made an excellent debut in 1987 with Girls’ Night slot at 9:45 p.m., after the popular series Dispatches. This Out about a group of female Welsh factory workers who schedule capitalized on the coattails of established pro- go to a male strip-tease joint. It was made with funding grams to show productions that otherwise would be seen from Channel 4 and S4C. The same year, Quinn moved by very few people. to Cardiff, attracted by the activities of the Chapter Film At this time, Channel 4 Animation made particular and Animation Workshop. She formed Beryl Productions choices. It promoted and celebrated women animators, with the writer and producer Les Mills, who had previ- devoting strands of programming to them and to their ously been one of her college teachers. Like most anima- works; it also presented animation productions from such tion companies, Beryl Productions alternated between Slavic countries as Czechoslovakia, virtually unknown in rent-paying commissions and more personal work. the rest of the world. Channel 4’s choices were good: the Joanna Quinn wanted to represent women, their neu- works it made were never commonplace or uninteresting. roses and their weaknesses, which can become strengths. The idea was to create a sort of everlasting animation fes- She used comedy and irony to explore feminine experi- tival on TV, introducing dozens of different cultures and ence and relationships between genders. In her first two styles in a few hours. films (Girls’ Night Out [1987] and Body Beautiful [1991]) she Another mission for the channel was to find and pro- features Beryl: an overweight, middle-aged woman, less mote new talents, both British and foreign. For this pur- sensual than insecure, who is always fighting not to gain pose, it coined the name Four-Mations, a pun indicating its pounds. However, through the films, Beryl proves herself interest in new talents. Most animators living and working strong and resolute; she gets what she wants through her in Great Britain today began their work with Channel 4. efforts while males are vain timewasters. Quinn teases Young animators can’t live off projects: they need a patron. women and their whims, but she does so with affection. Every year, Channel 4 gave four young people a three- She also developed an instantly recognizable, highly month internship at the Museum of the Moving Image detailed hand-drawn style of artwork with a strong visual in London (MOMI) to develop a project and the channel rhythm. produced the best ones. The Museum closed in 1999 due Especially in Body Beautiful (1991) she talks – with irony – to lack of funds. about how it is of the utmost importance today to own a Another challenge for Channel 4 was to make experi- beautiful and healthy body and she details the effort and mental films that could attract a wide audience and not tactics necessary to achieve it. The difficult path, however, just animation fans. It wanted to screen films that were is to accept oneself and one’s physicality, which never captivating, unusual, and well made, mixing art and film matches with the image imposed by media. The film Elles technique. (1992) imagines that Toulouse Lautrec’s models decide to have a spot of lunch before resuming their poses. In 1993 Joanna Quinn made Britannia, moving away from her previous themes. It is about Great Britain, rep- Channel 4 Animation resented by a fat bulldog that wears a T-shirt bearing the Below we consider some of the most famous and talented Union Jack. The dog plays, jumps, and makes a mess animators who started their careers through Channel 4. through the entire nation, from Scotland to London. Joanna Quinn One of the very best talents that Channel 4 ever produced is Joanna Quinn, a cornerstone of British animation. Quinn was born on 4 February 1962 in Birmingham but soon moved to London with her family. When she was four, she won a drawing competition; from then on, drawing became her main passion. She attended a year- long art class at Goldsmiths College in London then spent three years studying graphics and design at Middlesex University. Figure 3.1 Joanna Quinn, Body Beautiful, 1991. Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 70 Chapter 3: Great Britain: The Wonderful Years The film portrays the British sureness that comes from nibbling food.