An animation (long before there were such things) for Oscar Brown Jr’s track “But I Was Cool”, from his 1961 debut album Sin & Soul. Preserved by the Academy Film Archive in 2012.
Begins as a whimsical piece with 'sheets' of lines running down the screen, progressing into more and more complex geometic patterns but without deviating from the basic precepts of 'dot and line' animation. Jazz piano on a lazy Sunday afternoon, and a spring color palette. -- Stephanie Sapienza. Preserved by the Academy Film Archive in 2001.
Shapes and Gestures
1977
0
A collaborative piece by Gore and Beckett, the film begins with one of Gore's characters composing a letter, to eventual mail it. Beckett's animation takes over at this point, transforming the envelope into a looping, cascading form that seems to be perpetually turning itself inside out. A brief Gore finale bookends the piece, which is one of only two extant examples of Gore's unique animation work. This film is usually appended to Gore's own Dream of the Sphinx. [Source: Mark Toscano] Preserved by the Academy Film Archive in partnership with CalArts in 2009.
The Letter
1970
0
Del is a song writer for the obnoxious Mr. Mega, and in love with Didi, Mega's secretary. His quest to write a hit tune brings him to the wacky world of Flooby Nooby, where he just might learn to write songs from the heart. Preserved by the Academy Film Archive in 2016.
The Tune
1992
6
An animated short consisting of 4 segments: bowl, garden, theatre, marble game. Preserved by the Academy Film Archive in partnership with Harvard Film Archive in 2015.
Bowl, Garden, Theatre, Marble Game
1970
0
Commissioned by David Bienstock, creator of the New American Film Series at the Whitney Museum of Art to raise funds for the second season of the series. The film was projected at the end of each program and a box to receive donations was placed at the exit of the theater. Whitney Commercial ran for two or three years until the Museum agreed to sponsor the series on its own which has continued to the present season. Preserved by the Academy Film Archive in 2015.
Whitney Commercial
1973
0
An mutoscope motion picture installation commissioned for the 86th anniversary of the Guggenheim museum. Later preserved and turned into a short film. Preserved by the Academy Film Archive in 2000.
Mutoscope Reels
1945
6
"I relocated to the Redwoods of Sonoma County upon graduation and in that relocation process the animation for Sonoma began. The design was built around the concept of the long wide horizontal 'pan' shot to express the concept of a dynamic landscape that passes across the screen like a traditional Chinese Scroll Painting. The deep personal meaning relates to the 'relocation' that was occurring within my own being after having done 2½ terms of active combat in the jungle as a carrier enlisted with the 82nd Airborne Division of the Army" -D. Pies. Preserved by the Academy Film Archive in 2012.
Sonoma
1977
0
Bambi is nibbling the grass, unaware of the upcoming encounter with Godzilla. Who will win when they finally meet? Preserved by the Academy Film Archive in 2009.
Bambi Meets Godzilla
1969
6
Wallace and Gromit have run out of cheese, and this provides an excellent excuse for the duo to take their holiday to the moon, where, as everyone knows, there is ample cheese. Preserved by the Academy Film Archive.
A Grand Day Out
1990
7
Wallace rents out Gromit's former bedroom to a penguin, who takes up an interest in the techno pants created by Wallace. However, Gromit later learns that the penguin is a wanted criminal. Preserved by the Academy Film Archive.
The Wrong Trousers
1993
7
Wallace's whirlwind romance with the proprietor of the local wool shop puts his head in a spin, and Gromit is framed for sheep-rustling in a fiendish criminal plot.
A Close Shave
1996
7
The first Studies were synchronized with records (Fischinger made a total of 13 Studies all without sound). It was only with the introduction of sound, beginning with Study No 6 that the films did full justice to this musical principle. The play of the white lines, the arcs, and the upside-down U’s running hither and thither like ballet dancers was brought into perfect synchronization with the music, and thus the films offered an abstract illustration of the melodies. Study No 6 is certainly the best of his films in terms of forms. - Hans Scheugl and Ernst Schmidt, Jr. Preserved by the Academy Film Archive in 2001.
Studie Nr. 6
1930
6
Legacy takes the audience on a rapid-fire journey through the evolution of the world, starting with a cosmic bang, evolving through billions of years of plants, animals and the creation of natural resources, ending with man and his bounty – “sitting on his world contemplating his coconut”. Preserved by the Academy Film Archive in 2012.
Legacy: A Very Short History of Natural Resources
1979
0
Sing Beast Sing
1980
2
This animated short focuses on the lives of three eccentric people living on a farm in the Ukrainian countryside. Told in a non-linear, stream of consciousness style, the film depicts the deceitful relationship between a master and his two servants. Preserved by the Academy Film Archive in 2007.
Андрей Свислоцкий
1991
5
The entire film is divided into four consecutive chosen approaches—the fourth section devoted to a reiteration and extension of the original material. Preserved by the Academy Film Archive in 1999.
Five Film Exercises: Film 4
1944
4
A children's fable about the power of advertising, the meaning of life and ultimately the test of a mother's love. Preserved by the Academy Film Archive in 2016.
The Cow Who Wanted To Be a Hamburger
2010
5
Asparagus
1979
6
Beckett cycles through a limited number of drawings, but adds new information to each drawing every time we see it, giving the sense of a world that is infinitely rich and also obviously contained tightly within the edges of the paper. Preserved by the Academy Film Archive in partnership with iotaCenter and National Film Preservation Foundation in 2007.
Dear Janice
1972
0
“[T]he sense of moving forward [in space or time] alternates with a sense of expansion and contraction, as the finished cycle [of movement] returns to itself and rushes to catch up with its successor.” (Gadassik) Preserved by the Academy Film Archive in partnership with iotaCenter and National Film Preservation Foundation in 2007.
Flesh Flows
1974
0