The Advanced Art of Stop-Motion Animation: History of Stop-Motion Feature Films: Part 2


Despite a modest marketing campaign in the papers and on television, I Go Pogo did not get the proper theatrical release that was intended through 21st Century Distribution. It was instead quietly released directly to VHS and Betamax videotape as an exclusive title for Fotomat (Figure 1.21), and the tapes were sold through their photo pick-up shacks in parking lots. It was picked up for another video release as Pogo for President by Walt Disney Home Video in the early ’80s and aired a few times on HBO. (A few edits were made to different video and television releases—for example, Chiodo’s knothole sequence added back into the Disney version.) Despite these brief appearances, the film has since faded into obscurity. Although it was well animated and had some very funny sequences, many fans of the original Pogo strip feel that the film did not capture the essence of the characters or the political satire to its full potential, and that it was largely bogged down by too much dialogue. The Stowmar producers did not continue into other animation ventures, but their Pogo feature did at least provide a launching pad for many in the creative department and provided an interesting footnote in the canon of Kelly’s beloved creations.























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I am thrilled to see Ken Priebe's thoughtful history online. I was one of the DC-area artists who worked for the visionary Marc Chinoy, alongside the Chiodo brothers, Steve Oakes, and other talents, in the early experimental period leading up to the production of "I Go Pogo." I recall how the Stowmar studio atmosphere was super-cold (to stabilize the plasticine) as well as super-charged with creative energy and tension. Much care was given to the near-perfection of process and "mistakes could be made": conditions that nurtured excellence. It is no wonder that great careers were launched here.
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