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ANIMATIONWorld Magazine

ANIMATIONWorld Remembering Al

Animator Alfred Eugster, whose career started in the silent era and ended doing animation for TV, passed away the night of January 1, 1997 at the age of 87. The following memoir and biofilmography was prepared by his friend and sometime colleague, Mark Mayerson.Left to right: Otto Englander, Shamus Culhane, and Al Eugster at Disney in 1935. From Shamus Culhane's Talking Animals and Other People (St. Martin's Press, 1986). Collection of Bernie Wolf.I first met Al in 1975 when I was researching an article on cartoons released by MGM when he let me interview him about the Iwerks studio.

When I...

ANIMATIONWorld Louise Beaudet: A Passion For Animation

By Guest (not verified) | Saturday, February 1, 1997 at 12:00am

Front half of cover illustration by Jacques Drouin from the Tribute to Louise Beaudet issue of the ASIFA-Canada magazine (September 1996).On January 3, Louise Beaudet, perhaps the most famous and respected animation archivist in the world died of lung cancer. In her role as curator of Montrl's Cinathue Quecoise, she more than helped fulfill that organization's special interest in animation. Herein are a few thoughts by some of the people who knew and/or worked with her. But first, to provide some general background, we start off with the two part press...

ANIMATIONWorld La Freccia Azzurra

Scarafoni in La Freccia Azzurra by Enzo d'Alò.Usa il computer in maniera raffinatissima, questo film: cosraffinata che quasi non si vede. Guidata dal cervello elettronico, la sua macchina da presa compie carrellate ed evoluzioni che sarebbero possibili solo nel cinema "dal vero"; disegnati dai pixel, i suoi personaggi arrivano a disporsi su 30-40 livelli in profonditdi campo, rimanendo tutti perfettamente a fuoco. questo uno dei segreti della fondamentale leggerezza di un film che non assomiglia a nessun altro, e che riesce a narrare una divertente e gentile fiaba...

ANIMATIONWorld La Freccia Azzurra (The Blue Arrow)

La Freccia Azzurra (The Blue Arrow) is a film that uses computers in a highly refined manner; so much so, that one hardly notices. Guided by an electronic brain, its camera is able to execute tracking shots and pans which one only thought possible in a live-action movie; drawn with pixels, the film's characters are seen across 30-40 levels, with each one staying in perfect focus. This is one of the secrets to the basic "lightness" of a film like no other, one which tells an amusing and fun-loving fairy tale set in the 30s, with the touch of a modern electronic storyteller. Scarafoni...

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