Published between 1982 and 1995
Disneyland is like that too. Glancing at the upper storey windows on Main Street, I find them decorated with advertisements which incorporate the names of Disney artists and animators: ‘KEN ANDERSON Bait Co.’, ‘SHIPS MODELS – Bushman & DaGradi Mfrs.’ and in memory of his father, ‘ELIAS DISNEY Contractor Est. 1895’. Pure indulgence you might … Read more
On the rides in Fantasyland you can clearly see how the Disney ‘Imagineers’ (as Walt called them) have utilized the lessons they learned in animating film. Take, for example, ‘Peter Pan’s Flight’: boarding a model pirate-ship, I fly through the Darling children’s nursery, out of the window and into the night; dipping suddenly I find … Read more
Report by Neil Carstairs The main theme? Publicity for this year’s Festival stated that a theme running through many programmes would be ‘the rather neglected question of narrative and story telling in animation.’ Having seen over 100 films in five days of screenings the only conclusion I can come to is that neglected was the … Read more
Report from David Jefferson The Cambridge Animation Festival ran from the Tuesday evening to the Sunday evening. I went along for the weekend shows. The 1985 festival has been billed as the ‘new look’. Festival Director Irene Kotlarz said: “The aim of this new regime has been to make this year’s Festival entertaining and thought-provoking. … Read more
As the hype dies down Brian Sibley steps back and takes an objective view of the latest feature cartoon to come out of the Disney Studio. By a cunning ruse of counting The Many Adventures of Winnie-the-Pooh as if it were a feature film instead of a compilation of shorts, Walt Disney Productions were able … Read more
Not too surprisingly, the evil characters are far more interesting than the good ones, and the nasties in The Black Cauldron are the most gruesome to appear in any Disney movie since Fantasia. Especially grotesque is the cauldron-born army of skeletal warriors which come to life dripping rather more slime and gore than one normally … Read more
The Filmcraft 80 Rostrum is suitable for 8mm cameras and light 16mm cameras. In issue 14 we described how to build the main framework. David Jefferson continues with the base. As mentioned in part one of this article, the methods given are the ones I used. They are only intended as a guide and you … Read more
Rostrum base – materials. All sizes are in inches. Chipboard (Contiplas) 1 at 24 x 15” 2 at 16 x 12” Alloy 2 x ½” round tube at 14” 1 x ½” channel at 16” 1 x ½” channel at 12” 2 x ¾” channel at 16” 2 x ¾” channel at 12” 1 x … Read more
David J.M. Coleman describes a way of adding visual interest to a Plasticine puppet film with camera movement. I wanted to make a film of a legend… and after rejecting quite a few classical myths because they required too much specialist knowledge from an audience, I decided on the third part of the Old English … Read more
The next step in camera movement after this is to liberate the camera from its earthly existence altogether, and give it wings. This is achieved mind-bogglingly-well in the many adverts and title-sequences on television which now use sophisticated 3D computer animation: the Indesit advert, and the absolutely outstanding new title-sequence for Weekend World are the … Read more