Brew New York galpal Anne D. Bernstein went to see the new Kenneth Anger film tribute to Disney. Here’s her report from MoMA:

The event was sold out. Kenneth Anger wore a bright red sweater and was absolutely loving the applause and recognition. He was upbeat and psyched–even raising his hands over his head like a little kid who just got a basketball in the basket. They showed some early works: EAUX D’ARTIFICE, where a midget dressed in an elaborate robe walks and runs around the Tivoli Gardens in Italy as dramatic classical music blares; INVOCATION OF MY DEMON BROTHER, chock full of occult ritual, drugs, shots of a creepy-looking albino guy, and various young, buff, naked men relaxing on a couch (set to a repetitive jarring soundtrack by Mick Jagger); THE MAN WE WANT TO HANG, which consisted of shots of an art exhibit about satanic superstar Aleister Crowley. And then… MOUSE HEAVEN, which is the CUTEST film Kenneth Anger ever made or ever will.I was expecting Mickey to start whipping MINNIE at some point, but the film was peppy and fun. I mean, occasionally the unrelenting parade of hundreds of cartoon mouse toys and other objects (including a Mickey carpet sweeper sweeping a Mickey rug–which got the loudest laugh) is a bit uncanny. Yet it felt like a positive tribute to a powerful icon. Imagine my surprise! The
film was basically a series of montage vignettes set to an eclectic score of tunes from such artists as The Boswell Sisters and The Proclaimers. The Disneyana would often rotate or move in whatever way it was designed to (blinking eyes, dancing, etc.) There was a lot of layering and simple video tricks. It ended with some shiny metallic Mickeys which seemed to evoke Jeff Koons.Anger did speak a bit and had a few animation-related comments: he considers his first films to be little flipbooks that he made when he was a kid; he also noted that the original Mickey design was made up of circles and is therefore “a magical design”.I’m still wondering if his intentions with this project were really as straightforward as they seemed to be — considering his approach to film as a form of occult magick and his notorious fascination with evil–but anyone could enjoy MOUSE HEAVEN with or without exploring some complex and disturbing underlying take on Mickey. But I suppose the idea of Mickey as fetish is hard to escape! PS: He edited it on an Avid at his cameraman’s home. Sir Paul Getty and the Rockefeller Foundation provided the funds.

The winners of the Nicktoons Film Festival (produced by Frederator and ANIMATION MAGAZINE) were recently announced and the $10,000 Grand Prize went to Mark Simon and Travis Blaise’s TIMMY’S LESSONS IN NATURE. The Producers’ Choice award was given to Elizabeth Ito’s CalArts film WELCOME TO MY LIFE. Eight other finalists were also chosen:

Charlie and Chunk by Eric Fogel, Rockville Centre, NY
April by Jiwook Kim, Valencia, Calif.
Bert by Moonsung Lee, White Plains, NY
Skippy by Amanda Spalinski, Valencia, Calif.
Robot Family: The Slick Salesman by Chris Harding, Prairie Village, Kan.
Medusa: The First Date by Pierce Davison, Leederville, Australia
Kenya by Jonti Picking, London, England
Polygon Family 2 by Hiroshi Chida, Tokyo, Japan

For more info on the winners, go HERE.

I’ve been excited about the next film from Chris Sanders (LILO & STITCH) ever since I saw the first examples of concept art, but after reading this plot summary on IMDB.com (what would we ever do without the IMDB), I’m more convinced than ever that Sanders and Disney have got a major hit on their hands:

“A dog is banished from his Taliban home in Afghanistan, and the only one who will take him in is a poor soldier from Texas. The two share adventures that threaten to tear them apart and a true love that brings them closer together. In the end, they both find the true meaning of Christmas, along with a cantankerous old Tajik named Goudarz.”

And if you believe that, I have a really nice original production cel from TOY STORY to sell you.
(Thanks to the Drawing Board for the tip)

Couple good articles to recommend. First, at SaveDisney.com, “In Defense of Disney’s Uncle Remus” is an in-depth piece that argues for the release of Disney’s THE SONG OF THE SOUTH (1946), but also presents the case for why people have, through the years, felt the film is insensitive and racist.

Next is this fascinating and thought-provoking piece by Paul Graham that is as solid a primer as I’ve ever read on the aesthetics of good design. Graham presents a compelling case for why concepts like “taste” and “design” are not as subjective as they are generally made out to be in contemporary society, but rather rooted in certain universal values. All of the principles he discusses can be easily applied to animation: sadly, they most often are not.
(link via Cartoon Retro forum)

The Internets will never be the same. Harry McCracken has launched the long-awaited Scrappyland.com, a site dedicated to celebrating the Depression-era monochromatic goodness of the 1930s Mintz Studio cartoon star Scrappy. The folks at Sony/Columbia prefer to horde the classic Scrappy cartoons in their vaults rather than allowing the public to view and appreciate them, but fortunately Harry has single-handedly lifted Scrappy out of obscurity and brought 21st century awareness to one of the pinnacles of 1930s American culture.

The new TIM BURTON stop-motion feature is coming and it looks good: see the trailer HERE.