All AWN Content
Andrew Zucker provides a blow-by-blow description of the fate of "new media," from computer animation to interactive CD-ROMs.
Las Vegas' Freemont Street Experience boasts of the world's largest electric sign and Jane Baer explains to Frankie Kowalski how one does animation for a 5 screen panel that is almost 1,400 feet long.
Robin Allan examines how Disneyland, the progenitor of today's theme parks, came into being and the role animation had in it.
John Canemaker relates how Otto Messmer, the creator of Felix the Cat, got into directing animated films for a Times Square landmark.
Philippe Moins takes a look at one of the oldest and most respected animation schools in continental European.
Judith Shane reports on what goes on behind the scenes at one of the leading video game producers and of the latest escapades of Leisure Suit Larry and Jolly Al.
Festivals are wonderful places to discover the like-minded and the like-minded wannabes. The debut of the Brisbane Animation Festival, cheekily entitled Celluloid Briefs, drew the vibrant Queensland animation community and the lovers of animation to revel in two days of flickering projected images. And, it appears from the success of this first time out, it will be, as the organizers have promised, a biennial event.
Brisbane, a city of about one and a half million has a surprisingly active animation group. With 260 members in the Queensland Animators Group, the organization is certainly on...
The unexpected success of Britain's new national lottery can be a means of mitigating the dire results of privatization in funding animated films. Jill McGreal explains.
Judith Rubin surveys what's going on in animated ridefilms at theme parks and other venues around the world and who's making them.
BRC Imagination Arts, one of the oldest and largest producers of animated and live-action ridefilms is profiled by Rita Street.
Bob Swain interviews director Jim Cameron's reworking of Terminator 2 for Universal Studios theme park in Orlando, Terminator 2-3D .
If you like to second-guess jury decisions, Ottawa '96 was the perfect animation festival for you. Almost as good as the O.J. Simpson trial. Even the Grand Prize Winner engaged in some public secondguessing.Ottawa award winners, Igor Kovalyov, Pritt Parn and Paul Dressien.When Russian animator Igor Kovalyov came forward to accept his best film of the festival trophy for Bird in the Window, he was suitably gracious if somewhat stunned. He thought Priit Parn would win it for his film 1895.
This was the perfect ending to an enjoyable animation festival that featured some peculiar choices for...
The Dutch film industry's most ambitious production during World War II was an anti-Semitic sequel to Reynard the Fox. Egbert Barten and Gerard Groeneveld detail the fascinating story behind the film's production.
Animation in Iceland is a relatively recent (and mostly hidden) phenomenon. Giannalberto Bendazzi provides an look at frame-by-frame filmmaking in the island nation.
Raimund Krumme, one of Germany's top independent animators who is now working on a feature version of a children's classic, talks about Hollywood and the challenges posed by his new project.
Jill McGreal discusses the politics of funding for animation via the European Union's CARTOON initiative, which is trying to create the infrastructure for a transnational industry.
Hans Fischerkoesen, Germany's leading producer of animated commercials, was ordered to make theatrical cartoons by the government in World War II, as William Moritz notes, he produced a trio of remarkable films which were not exactly Nazi propaganda.