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The 18th Annual Animation Show of Shows Sva Theater, NYC
I became an animation fan -- a true aficionado -- early in life. It had little or nothing to do with children's shows on television (Hanna-Barbera, Speed Racer, Gigantor, et al), though I watched and liked most of them. Rather, it was probably when I first saw Fantasia (likely mid-1960s), and then The Jungle Book (1967) and (of course!) The Beatles' Yellow Submarine (1968). By that time, I was actively looking for good (or great) animation. I was not a fan of Disney (though I have a sentimental fondness for The Aristocats (1970)), and anime feature films did not become widely known in the U.S. until the 1980s.
So when I heard about something called the Fantastic Animation Festival in 1977, I made sure to check it out. Comprised of a series of 18 animated short films, it was exactly what animation aficionados were looking for.
The 18th Annual Animation Show of Shows Sva Theater, NYC
I became an animation fan -- a true aficionado -- early in life. It had little or nothing to do with children's shows on television (Hanna-Barbera, Speed Racer, Gigantor, et al), though I watched and liked most of them. Rather, it was probably when I first saw Fantasia (likely mid-1960s), and then The Jungle Book (1967) and (of course!) The Beatles' Yellow Submarine (1968). By that time, I was actively looking for good (or great) animation. I was not a fan of Disney (though I have a sentimental fondness for The Aristocats (1970)), and anime feature films did not become widely known in the U.S. until the 1980s.
So when I heard about something called the Fantastic Animation Festival in 1977, I made sure to check it out. Comprised of a series of 18 animated short films, it was exactly what animation aficionados were looking for.
- 6/8/2017
- by Ian Alterman
- www.culturecatch.com
I Via Curiel 8 (Magda Guidi & Mara Cerri, 2011)If someone asked me to make a list of the most interesting recent Italian productions made in the 2010s, there is no doubt that some of these titles would come from the field of independent animation. If I had to explain this choice, I would simply answer that there is nothing surprising in it. We may not have a new Bruno Bozzetto yet—a pioneer of the modern animation cinema in Italy, author of a milestone such as Allegro non troppo (1976)—but there is plenty of evidence to indicate not only a high overall level of aesthetic beauty but also a rigorous quality in most of these films. They also generally bypass the distinction between rearguard and avant-garde by demonstrating that tradition does not necessarily mean lack of innovation. These thoughts came to mind while I was at the latest edition of...
- 12/5/2016
- MUBI
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