Eclipse Predictions
1982 · 4m · Animation
Diana Wilson’s mysteriously beautiful animated tableaux fluidly unfold before our eyes, a generous receptacle for the mournful, harrowing soundtrack, in which the filmmaker recounts a tragedy from her youth. Preserved by the Academy Film Archive in 2011.
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A Grand Day Out
1990 · ★ 7.5
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.
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The Wrong Trousers
1993 · ★ 7.8
Wallace rents out Gromit's former bedroom to a penguin, who takes up an interest in the techno trousers created by Wallace. However, Gromit later learns that the penguin is a wanted criminal.
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A Close Shave
1996 · ★ 7.6
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.
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Study No. 6
1930 · ★ 6.6
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.
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Bambi Meets Godzilla
1969 · ★ 6.5
A deer, disillusioned by the consumerism that defines his life. A lizard, ostracized from society, forever wandering. A chance meeting in the middle of a field. Who will survive? And who will transcend existence? Preserved by the Academy Film Archive in 2009.
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Shapes and Gestures
1977
Begins as a whimsical piece with 'sheets' of lines running down the screen, progressing into more and more complex geometic patterns but without deviating from the basic precepts of 'dot and line' animation. Jazz piano on a lazy Sunday afternoon, and a spring color palette. -- Stephanie Sapienza. Preserved by the Academy Film Archive in 2001.
More info →Dream of the Sphinx
1971
Gore's second solo film, DREAM OF THE SPHINX is highly representative of his fluid, expressive line work and characteristic traversals through space. Preserved by the Academy Film Archive in partnership with CalArts and iotaCenter in 2009.
More info →The Letter
1970
A collaborative piece by Gore and Beckett, the film begins with one of Gore's characters composing a letter, to eventual mail it. Beckett's animation takes over at this point, transforming the envelope into a looping, cascading form that seems to be perpetually turning itself inside out. A brief Gore finale bookends the piece, which is one of only two extant examples of Gore's unique animation work. This film is usually appended to Gore's own Dream of the Sphinx. [Source: Mark Toscano] Preserved by the Academy Film Archive in partnership with CalArts in 2009.
More info →The Unicycle Race
1966
An animated film drawn in india ink directly on 65 mm film. It was reduced optically to 35mm film with colour added. The story of the film concerns a rivalry between two simple stick figures characters for the championship in a unicycle race. Preserved by the Academy Film Archive in 2011.
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The Cow Who Wanted To Be a Hamburger
2010 · ★ 5.4
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.
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Bowl, Garden, Theatre, Marble Game
1970
An animated short consisting of 4 segments: bowl, garden, theatre, marble game. Preserved by the Academy Film Archive in partnership with Harvard Film Archive in 2015.
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Odalisque
1980
"I think of Odalisque as my first film. It was completed after film school and I worked with just a graphite pencil, a small group of colored pencils and animation bond. It is a trilogy of amorous dreams coming from the imagination of a woman recalling her childhood, her beloved twin so difficult to separate from and becoming an adult sexual person. The aria Sempre Libera from La Triviata by Verdi opens the film and the poem Leda and the Swan by WB Yeats ends it. It was great to work with Michael Riesman who created the sound track. I loved working in NYC in those days with Robin McDaniel, Rebecca High and others." Preserved by the Academy Film Archive in 2017.
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