Bruxelles, le Festival
Philippe Moins, the Festival's founder, presents the whys and wherefore's of the event which starts off each festival year.
Philippe Moins, the Festival's founder, presents the whys and wherefore's of the event which starts off each festival year.
Janet Benn provides a case study of the role played by Animation Director Yvette Kaplan on Beavis and Butt-head Do America, while saying more than a little about who Yvette is.
A international selection of filmmakers, executives and others share their thoughts about why animators should consider sending their works to festivals.
Tom Knott, the former director of the Ottawa Festival, takes a look at how festivals have changed over the past few years, in terms of quality, independent filmmaking, and as a venue for the major studios.
Chris Robinson, Director of the Ottawa Festival takes a hard look at the relationships between festivals and the international animators' association which accredits them.
Wherein the Museum of Modern Art's Adrienne Mancia reminisces to Mark Langer about her past efforts in animation programming and her thoughts about the state of the craft today.
Annick Teninge talks with the current director of Annecy, the granddaddy of all animation festivals, about how and why it has changed over the years.
Capcom's popular Street Fighter games have spawned a slew of movie and TV adaptations both in Japan and the US. Brian Camp reports.
Creative Capers had a happy existence doing animation for Hollywood feature films until the CD-ROM revolution came along. Harvey Deneroff takes a peek at what's doing there animation-wise.
Let's face it, there is no avoiding Space Jam. Warner Bros. really pulled out all the stops to make sure the film opened big, which it did. In so doing, they finally proved that Disney is not the only one that has the ability to make and successfully market an animated feature as a major event. Thus, the psychological hegomony that was Walt Disney Feature Animation is no more. In this context, it seems rather picky to cast any sort of critical eye on it. After all, aren't the special effects and the marriage of live-action and animation terrific? Well, yes, most of the time, but...
Daffy...
Philippe Moins takes a look at one of the oldest and most respected animation schools in continental European.
A international selection of filmmakers, executives and others share their thoughts about why animators should consider sending their works to festivals.
Michael Frierson provides an in-depth look at the animated short that brought Tim Burton his first inkling of fame.
A personal memoir by Linda Jones of how she and her father got started in producing and selling animation art.
A sampling of what some of the leading lights in interactive animation have to say about what the future has in store.
Frankie Kowalski takes a loving peek at the Christmas classic on the occasion of its 30th anniversary.
Filmmaker, teacher and animation historian, John Canemaker has been called animation's ambassador at large. Mike Lyons explains why.
Philippe Moins takes a look at one of the oldest and most respected animation schools in continental European.
Philippe Moins takes a look at one of the oldest and most respected animation schools in continental European.
Judith Shane reports on what goes on behind the scenes at one of the leading video game producers and of the latest escapades of Leisure Suit Larry and Jolly Al.
Andrew Zucker provides a blow-by-blow description of the fate of "new media," from computer animation to interactive CD-ROMs.
Las Vegas' Freemont Street Experience boasts of the world's largest electric sign and Jane Baer explains to Frankie Kowalski how one does animation for a 5 screen panel that is almost 1,400 feet long.