On March 1st CONELRAD, the website devoted to Cold War popular culture, launched a campaign to get the 1951 Civil Defense film “Duck and Cover”into the Library of Congress’s National Film Registry. The deadline is March 30th. “Duck and Cover” features animator Lars Calonius’s (now deceased) cartoon creation “Bert the Turtle,” a character that has become synonymous with the Atomic Age.
In this time of “Homeland Security”, what could be more appropriate?
So check out this website for more information - and learn why Mia Farrow is the “Duck & Cover Girl”!

Enrico Casarosa, talented creator of the comic ADVENTURES OF MIA and a story artist at Pixar, has launched a new on-line graphic novel at Haiku5-7-5.com. His poetic approach to the narrative offers an interesting contrast to the actual story which is about Japanese yakuza gangsters. A new page is posted every two weeks. The comic has a terrific style with most of the art drawn directly into Adobe Photoshop with a Wacom tablet, interspersed with charcoal drawings. Check out more of Enrico’s work at EnricoCasarosa.com.

Here’s a few interesting children’s books I’ve run across recently which feature artwork by animation artists. FLOWER GIRL is illustrated by production designer Harley Jessup (MONSTERS INC, JAMES AND THE GIANT PEACH), THE ENORMOUS MISTER SCHMUPSLE: AN ABC ADVENTURE is the second children’s book by ROCKO’S MODERN LIFE creator Joe Murray and TURTLE SOUP is the first work from animator Jennifer Cardon Klein (THE IRON GIANT, EMPEROR’S NEW GROOVE). Jennifer also produced the recent animated short BOYS NIGHT OUT,which was co-directed by her husband Bert Klein.

Maureen Furniss has just informed us of the bad news:
I write to you with sadness but a sense of peace. Bill Moritz, a great friend to many and a stellar figure within the field of animation studies, died early this morning (Friday, March 12) at the home of his sister in Northern California.
He had suffered with throat cancer for many years, then developed another form of cancer in his chest in recent months. Within the next few days, I will send details of his memorial service, which will take place in the Los Angeles area in the near future.
Bill was known for his work on German animation, particularly the work of Oskar Fischinger. His book on Fischinger, his life’s work, recently was published by John Libbey.
Allegretto (1936) Bill was instrumental in restoring and documenting this important artist’s films, which otherwise probably would not have been preserved for future generations. He traveled to many film festivals, presenting the work of visual music artists, and wrote extensively on experimental animation. He was a member of the Animation Journal editorial board, publishing an article in its first issue and publishing again in future issues.
He also was past president of the Society for Animation Studies. Bill was on the faculty at California Institute of the Arts, where he had been for many years, and was a mentor to many. Bill was also an artist, working in film and theater, among other realms. He spoke numerous languages and leaves behind friends around the world. He also leaves a beloved family of cats that comforted him during his illness.
Animation World Network will be publishing a tribute dedicated to Bill within a few days, so please be sure to look for it.

Mark Kausler sent us this good news:
“I’m so happy to be reporting that “It’s ‘The Cat’” has been accepted in this year’s Annecy International Animation Festival. It was one of 243 selections out of over two thousand submitted films.”
Cartoon Brew congratulates Mark - we are rooting for you. IT’S ‘THE CAT’ will screen at the AFI on March 27 at 3pm (see below for more details).

Once a month, here in L.A., a bunch of us get together to screen classic cartoons in a nice little screening room in Hollywood.
Sometimes we screen video, sometimes we screen 16mm film, and sometimes we screen 35mm Technicolor prints.
I usually organize the screenings, but sometimes we have guest curators. Asifa-Hollywood sponsors these screenings at the AFI campus on Western Avenue in Los Feliz.
We have the next three screenings lined up - and if you are in southern California I hope you will drop in.
They are usually on the last Saturday of each month (not always - please check the dates - Full details are listed on my Cartoon Research Screenings page).
Our next three programs are: March 27th 3:00pm - MARK KAUSLER screens his new personal film, IT’S THE CAT and a selection of classic Hollywood cartoons that inspired him.
April 24th 3:00pm - A Tribute to UPA with 35mm prints, guest Tee Bousustow and rare interview video footage.
May 22 at 3:00pm ANIMATION PRESERVATION screening with Jere Guldin from the UCLA Archive - showing rare prints of “lost” cartoons.
The location is THE AMERICAN FILM INSTITUTE, TED ASHLEY/WARNER BROS. SCREENING ROOM, 2021 N. Western Ave., Hollywood, CA
We hope to see you there.

My pal Danny Fingeroth (comic book writer extroaordinaire) has a new book on a favorite subject of mine: Superheroes. You should check it out here. “Superman On The Couch” explores the reasons why the superhero is myth for our times and our culture.

With its roots in ancient mythologies and modern obsessions, the idea of the superhero is one that permeates our entertainment as well as our daily lives. The superhero adventure story–in comics, film or on TV–is the vehicle for our own modern mythology.
“Superman On The Couch” examines how the key superhero archetypes-Superman, Batman, Wonder Woman, Spider-Man, the X-Men-touch primal needs and experiences in Western culture. There is much about the superhero that transcends its four-color origins.
Says Danny, “My book, Superman On The Couch: What Superheroes Really Tell Us About Ourselves and Our Society is finally going on sale the beginning of April. There’s a publication party at the new MOCCA (Museum of Comic and Cartoon Art) Soho headquarters on Thursday, March 25th, 6-8 pm, if you’re by any chance in NYC then.”

>Now I’ve seen everything!
Literally - I’ve now seen every traditional Disney hand drawn animated feature film.
The collection is now complete. From SNOW WHITE in 1937 to HOME ON THE RANGE in 2004.
The original studio built by Walt and maintained since his death by the Nine Old Men, Ron Miller, Jeffery Katzenberg and currently Michael Eisner closes the book with one last feature length cartoon.
HOME ON THE RANGE is a fun little piece of fluff - it’s sort of an animation equivilent to the kind of small live action comedies Disney made in the 1960s, like MOON PILOT or THE MONKEY’S UNCLE. And like those films, HOME is easy to watch, good for a few laughs, harmless… and unimportant.
It’s got some good things in it, to be sure. The bright primary colors and the Ham Luske/Mary Poppins-esque character designs are (for me) a pleasure to watch; the strong stylized layouts and full character animation still make me smile and hold my attention.
The film’s creators may have been trying to making a statement here, taking a stand against CG by designing the most intentionally flat two-dimensional Disney universe since THE SWORD IN THE STONE.
The film is about a trio of cows who attempt to catch a cattle rustler in order to save their farm. The beefy bandit, Alameda Slim (Randy Quaid), has a special technique to lure his prey - a hypnotic yodel! The demonstration of his vocal warbling is the film’s psychedelic highlight.
Other random pros & cons I thought about while watching the film:
PRO: There’s a nice bit where the farm horse fantasizes in CinemaScope spagetti Western style;
CON: Too many burping gags;
PRO: The voices are great - Roseanne, Jennifer Tilly, Cuba Gooding Jr. Judi Dench, Steve Busemi, and Governor Ann Richards (!);
CON: This film can have a jack rabbit with a peg leg - but Disney’s PC police had to get rid of Peg Leg Pete’s handicap in later Mickey Mouse adventures.
The Disney studio has come a long way from it’s Kansas City roots, Mickey Mouse beginings and SNOW WHITE heights. But the only thing this new film has in common with SNOW WHITE is a credit to Joe Grant (for Additional Story).
HOME ON THE RANGE is a better note to end on than, say, THE BLACK CAULDRON or ATLANTIS. It feels like the animators, writers, designers and directors had a lot of fun putting this together.
But that won’t change Hollywood (or public) perception of traditonal animated features. This style of film now comes to an end (actually, it evolved - and moved to Pixar). Traditional animators will have to have fun reinventing the artform.
I know they can do it.
To paraphrase an old World War II song: They did it before, they’ll do it again.