Five Film Exercises: Film 4
★ 4.6 · 1944 · 7m · Animation
The entire film is divided into four consecutive chosen approaches—the fourth section devoted to a reiteration and extension of the original material. Preserved by the Academy Film Archive in 1999.
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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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1993 · ★ 7.8
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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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Legacy: A Very Short History of Natural Resources
1979
Legacy takes the audience on a rapid-fire journey through the evolution of the world, starting with a cosmic bang, evolving through billions of years of plants, animals and the creation of natural resources, ending with man and his bounty – “sitting on his world contemplating his coconut”. Preserved by the Academy Film Archive in 2012.
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Mountain Music illustrates what happens when technology gets too advanced too soon. Preserved by the Academy Film Archive in 2012.
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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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1959 · ★ 7.3
Odds & Ends is a sly comment on the collage film and Beat culture. To discarded travel and advertising footage found at a local film laboratory, Belson Shimane added a mélange of animation—assemblages, cutouts, color fields, and line drawings—and faux hipster narration by Jacobs (credited via the anagram Rheny Bojacs) punctuated by a bongo backing. Strung together with doublespeak and non sequiturs, the monologue skirts the edge of nonsense as Jacobs waxes on about poetry, jazz, “reaching the public,” “having a good time,” and—although “money doesn’t count”—the “possibility of subsidy” through grants. Footage of champagne, tropical beaches, and exotic peoples intermingle with rhythmic drawings and stop-motion flights of fancy. The visuals race on through dazzling transformations, both amplifying and undercutting the patter. —National Film Preservation Foundation. Preserved by the Academy Film Archive in partnership with Iota Center Collection in 2006.
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1953
A vibrant animation by Patricia Marx. Preserved by the Academy Film Archive in 2000.
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1979 · ★ 6.6
A symbolic reflection on issues of female sexuality, art and identity constructs.
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1992 · ★ 6.6
Del is a song writer for the obnoxious Mr. Mega, and in love with Didi, Mega's secretary. His quest to write a hit tune brings him to the wacky world of Flooby Nooby, where he just might learn to write songs from the heart.
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