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Len Lye scraped together enough funding and borrowed equipment to produce a two-minute short featuring his self-made monkey, singing and dancing to 'Peanut Vendor', a 1931 jazz hit for Red Nichols. The two foot high monkey had bolted, moveable joints and some 50 interchangeable mouths to convey the singing. To get the movements right, Lye filmed his new wife, Jane, a prize-winning rumba dancer.
In the 40's, after the Spanish Civil War, many republicans defeated by the nationalist forces of Franco found refuge on the bordering mountains in the north of Portugal. Some saw them as brigands, others gave them shelter and helped them on the sly to police forces of Salazar. They were... the Outlaws.
Norman McLaren instructs Grant Munro on the movements he is to make. The film technique for Two Bagatelles is pixillation, where the actor is animated frame by frame, as in the film Neighbours/Voisins.
This animated short is a play on motion set against a background of multi-hued sky. Spheres of translucent pearl float weightlessly in the unlimited panorama of the sky, grouping, regrouping or colliding like the stylized burst of some atomic chain reaction. The dance is set to the musical cadences of Bach, played by pianist Glenn Gould.
A short four-minute concept film unveiled in surprise at Studio SHAFT's 40th anniversary event in winter 2015, Madogatari. The first animated Puella Magi Madoka Magica work since Puella Magi Madoka Magica the Movie: Rebellion, it features the return of the full Madoka Magica cast and staff.
After her mother's death, Kim finds solace in wearing her mother's old sweater. However, the sweater begins to itch and even hurt her, but she still can't bring herself to take it off.
At the end of the eighth day the Creator has taken refuge in a dark dungeon . Obsessed with transcending he manipulates life to the extreme and tries to engender the perfect being that will immortalize him
A king hides an embarrassing secret - and it causes him to execute every barber who cuts his hair.
Sketch Film #1 (Tomonari Nishikawa, 2005, 3 min., super 8, silent, 18/24fps, b&w, USA) As a painter carries a sketchbook and practices drawing, I carried a Super 8 camera and shot frame by frame, as an everyday exercise to make animations of lines and shapes found in the public space. The entire film was edited in camera and hand-processed afterwards.
