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New direction in animation: Asia


Reactions to independent and experimental animation
Jules Engel Film-maker
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Generally, when I travel with my work, the reception is always incredibly good. That's always a surprise that comes to you, that people are out there and they say, 'How come we don't see this? How come we don't see this?' Well, what are you going to tell them how come they don't see it? They don't see it because the majors are not making them and they have nothing to do with that. And simple as that. So they have to have a way of finding out where this show, this kind of exhibit, is taking place. Like Cindy that's running the CIO… CIO… CIA? I mean, she started with nine places, nine cities or countries, now that's up to 40. Forty different cities, countries and places are asking for the film. Now that's incredible. And they already… Because they have about two or three from yesterday, starting with Oskar Fischinger and people. And now it's got to the point where they want it tomorrow. And Cindy doesn't have that many prints, you know, to send it all over. But the response is enormous. Absolutely enormous. Out of six, the first catalogue, the first brochure, had about six stops, now it's twenty. Twenty different countries are waiting for… for the next print, which is all animation. And that's where it is today, so that's good. It is good but then it still doesn't come out of the industry, it comes out of the individual. But the individual… but then you'd be surprised how a short life they are. Some might be there twenty years or so, but in general, all of a sudden they disappear. And often it happens when they do a film. One film. You see, the second film was a big problem. So they've got two or three. Kathy Rose in New York is a good one. So she's constantly in motion and those things. She's good and she's inventive and then it's a question of people to go over and she gives a concert, you know? And when she gives a concert, the house is full, you know? But she is one. And there's two others, two other girls. But they're doing films, they're making films but they need about, let's say eight or ten films to put on a real program, you know? If you have about eight or ten films... because they're short, maybe six minutes the longest, eight minutes the longest. But if you have at least eight films, you can have an evening of animated film from a single person, which had nothing to do with the school.

The late Hungarian-American film-maker Jules Engel is best known for his contribution to the field of animation. His work includes the dance sequences in Walt Disney's 'Fantasia' and the creation of 'Mr Magoo'. His films and lithographs are housed in museums all over the world and have won many awards.

Listeners: Tamara Tracz Bill Moritz

Tamara Tracz is a writer and filmmaker based in London.

William Moritz received his doctorate from USC and pursues parallel careers as filmmaker and writer. His forty-four experimental and animation films have been screened at museums in Paris, Amsterdam and Tokyo, among others. He published widely on Oskar Fischinger, James Whitney, Bruce Conner, the Fleischers and 200 pages of animation history for an AbsolutVodka website. He wrote chapters for the "Oxford History of Cinema", appeared in several television documentaries, curated art exhibits and received a lifetime achievement trophy from the Netherlands Royal Academy for his work with visual music. He has served on film festival juries and received an American Film Institute filmmaking grant. His poetry and plays are also performed and published. He is a leading expert of Oskar Fischinger and recently published a biography of him. He teaches at The California Institute of the Arts.

Tags: New York, Oskar Fischinger, Kathy Rose

Duration: 3 minutes, 30 seconds

Date story recorded: April 2003

Date story went live: 29 September 2010