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Two short fragments resulting from experiments in controlling the mechanical development of the instrument. Preserved by the Academy Film Archive in 2005.
Early 'visual music' film by John Whitney. Preserved by the Academy Film Archive in 1999.
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.
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.
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.
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.
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.
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 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.
Begins with a three beat announcement drawn out in time which thereafter serves as a figure to divide the four sections. Each return of this figure is more condensed, and finally used in reverse to conclude the film. Preserved by the Academy Film Archive in 2004.
