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# 7 Winter 1983

Australian animation in the 1970s

A lot has been written about the recent Australian cinema “breakthrough” (as we like to call it). In the early ‘70’s the Australian Government offered attractive incentives to film investors who suddenly found it a worthwhile proposition to make feature-length films in Australia, and about Australians.

Australian animation in the 1970s

Yoram Gross, an Israeli born animator, who immigrated to Australia after founding an important puppet animation studio in Israel, has produced a considerable number of successes.

Introducing a new Visual Language

Take a classic Picasso painting, mix it with Salvador Dali’s melting clocks, combine these in fluid movement, and you have the capability of the latest computer graphics system.

Introducing a new Visual Language

It is common knowledge that the highly labour-intensive visual process of animated film is too expensive, and takes a long time to produce.

Introducing a new Visual Language

But the most satisfactory advance from the visual point of view is the system developed by COMPUTER CREATIONS in South Bend, Indiana, USA.

What is ASIFA

ASIFA was formed in 1960 by a group of professional animators to co-ordinate and further the interest of this dynamic medium.

What is ASIFA

The aims of ASIFA are summarised in its Manifesto, approved by the Board in 1977.

Edinburgh Film Festival 1983

Another interesting show was the student animation, ranging from the trailer for the National Film Schools next epic “1884”, very polished, Disney type animation, to some self indulgent experimental films.

The Shadows Move – G.B. Animation

In 1944, the Rank Group set up a small cartoon unit, lust six people and a tea-boy. This little group joined forces with G.B. Instructional Films, and became the nucleus of a much grander organisation: G.B. Animation.

The Shadows Move – G.B. Animation

“When I have a completed animation test in front of me,” Hand explained, “I look for the mind of an actor and the drawing ability of a skilled draughtsman.”

The Shadows Move – G.B. Animation

Just before the Cookham crowd swung into top gear, another American, George Moreno, a former animator at Fleischer’s studio, won the backing of three London businessmen.

The Shadows Move – G.B. Animation

In this very short sequence only eleven drawings – Ginger Nutt does not simply move, he is made to ACT his movement with every drawn line.

How to build a Zoetrope

The ZOETROPE was a popular children’s toy in Victorian times, and just consists of a drum with vertical slits cut in it at regular intervals, mounted on a spindle so that it can be made to revolve freely when spun by hand.

How to build a Zoetrope – Page 2

Draw your sequence of drawings on the strip once you have marked out one, you can mass-produce them – and drop it into the drum with the pictures facing inwards.

Animating Christmas Card Cut-outs

Last Christmas as I was idly looking at the display of cards draped above the fireplace I wondered what would happen if the Three Wise Men on their camels found themselves on the wrong Christmas card.

The first ANIMA Festival

The first ANIMA Festival, held in September, was considered to be a big success and plans are already being made for next year’s festival.

The first ANIMA Festival

The afternoon film show opened with THE SPIDER IN THE BATH by Tony Salmon. This is an amusing cartoon film set to the well known song of the title.

Skywhales from Animation City

Being a hunting society it is likely that their huts would be constructed from the remains of the vast Skywhales that they kill.

Skywhales from Animation City

The music for Skywhales was created by Dirk Higgins. He has tried to suit the music to the environment in which the film is set.

Skywhales – the story

Hours later, after much strenuous labour, the beast has been cut up to provide the food and other products which the city needs and Nilbul is clearing up ready to go home.

The Annecy Animation Festival 1983

The main feature of most of the films shown at Annecy festivals is their very personal nature. Few have straight forward narrative story lines in the manner of TV animation and most contain a political social or personal statement, sometimes obscure, sometimes clearly expressed.

The Annecy Animation Festival 1983

Although films could be entered in the festival in a number of categories, no distinction was made when they were shown in the cinema. Thus a children’s film could be shown alongside an avant-garde experimental production.

The Annecy Animation Festival 1983

The British animation industry was well represented again this year by such diverse films as Channel Four’s SNOWMAN, Liz Spencer’s ‘Sredni Vashtar’ and Jonathan Hodgson’s ‘Nightclub’.

The Cambridge Animation Festival 1983

Nearly 250 films were shown during the festival. Animation and persuasion was its main theme. It also included programmes of British, American and experimental films.

The Cambridge Animation Festival 1983

The latest in British animation films were shown under three headings; British Contemporary films for children, British Contemporary Films and British Contemporary films: New Directions.

The Cambridge Animation Festival 1983

The programme of British Contemporary films opened with THE PARIS YEARS – IGOR CHEZ PLEYEL which was backed by Channel 4 and was one of their rather more experimental offerings.