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# 6 Autumn 1983

The ANIMA Report

From Animator’s Association Chairman David Jefferson. The ANIMA Festival seems to be shaping tip into a really good event. There are lots of entries of new films plus an invited […]

The Shadows Move – the 1940s

Len Lye’s early experimental cartoon work using Publicity Pictures facilities resulted in TUSALAVA, released in 1928. EXPERIMENTAL ANIMATION appeared in 1933 while he was employed by the G.P.O. film unit.

The Shadows Move – the 1940s

Interested in trying an animated puppet film series promoting Horlicks, J. Walter Thompson’s advertising agency sent Gerard Holdsworth to Holland to talk over possibilities with George Pal.

The Shadows Move – the 1940s

When the Blitz began, HOPPY and his wife would sit up nights filling in cels. They were often accompanied by their close friend Police Superintendent MOORE who lent a hand.

The Shadows Move – the 1940s

JACK JACKSON, the popular band-leader who became a celebrated disc-jockey on radio after the war, took time off from his music and his A.R.P. warden duties and animated a series of food-flashes for the Ministry of Food.

The Shadows Move – the 1940s

ANSON DYER made ROBBIE FINDS A GUN (B/W – 1946), WHO ROBBED THE ROBINS (1947) , and a three part serial SQUIRREL WAR (1947).

Labour Saving Animation with Lip-sync

In shot three, the caveman enters. This re-used the cels from shot one. The caveman with the brontosaurus took up most of the cel so walking him into the scene would allow the leading edges of the cels to show.

Group Animation – Our First Attempt

I slunk off and did a few sketches on this paper and photographed them – I did a whole minute of the start of the film to see if I could do it.

Group Animation – Our First Attempt

Another time saver was our method of providing the shooting information. We had no time really for sitting down and writing a shooting script or list.

Drawing Cartoons – how to show expressions

These drawings show the five main emotions reduced to a simple form. One of the best ways of learning to draw expressions is to look at your own face in a mirror. Try acting out the various emotions for yourself.

Cambridge Animation Festival 1983

Perhaps the first major animator to use animation to express his strong revulsion against war was Nonnan McLaren. The Festival will screen both HELL UNLIMITED, made in 1936 after his experiences as a cameraman during the Spanish Civil War and NEIGHBOURS, made at the beginning of the Korean War in 1955.

Cambridge Animation Festival 1983

Following Britain Salutes New York, the Festival offers America Salutes Cambridge: six programmes of contemporary films made by independent American animators, most of which have never been seen in Britain.

Cambridge Animation Festival 1983

This year for the first time there will be a children’s workshop immediately preceding the Festival and the film made at this week-long work¬shop will be screened during the Festival. The workshop will be for fifty local Cambridge children and the directors running this exciting event will include Norwegian director, Inni Karine Melbye, Gro Strom, Kevan Wooldridge, head of animation at the Royal College of Art in Britain and Jessica Langford who runs many excellent workshops in Scotland.

Bugs Bunny Signs Up

Warner Bros were committed to attack the German Nazi party before any other Hollywood studio. After their representative in Berlin had been kicked to death by storm troopers they had broken off all dealings with Germany, and, as supporters of Franklin Roosevelt since 1932, they backed him against the isolationists.

Contemporary British Animation in 1983

Bugs, of course, was not alone. The feeling in America at this time was viciously anti-Japanese and permeated every medium. An extraordinary article in Time magazine in December 1941 entitled ‘How to tell your friends from the Japs’ gives a few rules at thumb to differentiate the Chinese – friends – from the Japanese.