Ashes of Doom

A richly illustrated cartoon film that enlarges on man's capacity to foul his own nest, and to ignore it. Made by a joint team of Canadian and Yugoslav animation artists, the film transmits its warning with unflagging humor, imagination, movement and design. In between animated sequences Dr. Fred H. Knelman, Professor of Science and Human Affairs at Concordia University in Montréal, comments on the import of what is shown and on what lies in store if more responsibility is not taken on a global scale to conserve what is left of our vital resources and usable environment.

An amusingly drawn cartoon about a highly proficient lady bricklayer, graduate of Specialists' School, whose work takes her high up in the world, and her erstwhile friend, whose equally dedicated professionalism brings him lower. She builds towers of bricks while he tunnels down below ground. What develops in the story involves other unlikely characters, plausible enough in this cartoon context.

Witty cartoon in a popular idiom about the serious issues that face the world: overpopulation, starvation, and people’s selfishness when confronted with these. Is there any possible solution? A good discussion starter, as relevant now as it was when made.

An animated version of the classic David Copperfield story. Filled with music, color, and anthropomorphic versions of the classic characters.

The first part of this series by Norman McLaren deals only with tempo. It starts by showing the disc travelling in one move (1/24 of a second) from A to B, and progressively demonstrates slower and slower tempos.

The third in a series of five colour films that offer an introduction to the basic techniques of film animation. McLaren explains and demonstrates different aspects of movement that are essential to the animator’s art. In this case it is the pause and irregular movement.

An animated cartoon to help children explore why and how animals move as they do. A little boy discovers that he cannot compete with a monkey, a snake or a horse by imitating the way they move. He can only outdistance them when he climbs into a vehicle that can travel in any environment, proving that while other animals are trapped by their environment, humans, the inventors, aren't.

In this fourth film, Norman McLaren explains and illustrates composite motion, where two of the categories of motion occur simultaneously in one action, such as the motions of jointed or pivoted parts (as occur in animal and human movements). Also shown is a human gesture with increasing amounts of emotion; and finally, the phenomenon of 'strobing' in animation is examined.

Perhaps the only film whose content is totally based on the musical form known as canon. The first sequence is a simple demonstration of the canon "Frere Jacques" where four cubes dance and combine with one another on a checkerboard. The second sequence show four little human-like figures dancing in space. The third and most elaborate sequence shows a human going through several strange gesticulations. Through multiple printing we realize that the man, as in the previous sequences, is part of a visual canon and is making the gestures to himself. As we hear variations on the canonic theme so too do we witness visual variations: a woman and cat enters the canon. To show the musical technique of inversion, the image of the man is printed upside down.

The importance of a balanced diet, told in story form for children through the medium of two-dimensional cut-out animation. Stanley is a little boy who is lethargic from lack of a balanced diet. Some animals take him for a trip on the back of a "train engine" bull, to discover what are the proper foods for health and where they come from.

This short puppet animation from the fifties tells the story of Magic Bow, a First Nations boy endowed with magic gifts. Magic Bow is in the big city for the first time, thrilling audiences with his tricks at the Wild West Rodeo. Outside the arena, cars, trucks and buses zip by at dizzying speeds. With the help of some savvy city dwellers, Magic Bow learns a few important traffic rules to help him navigate the streets safely.

In this fifth part, Norman McLaren deals not with motion (if motion is defined as a change of location in two- or three-dimensional space) but with change--change in the amount and color of light within an otherwise static screen. Normally, the animator combines such change with motion, but here it is studied in isolation.

Window shopping children watch as toy soldiers come to life and fight a war with all its unvarnished ferocity and horror.

Norman McLaren instructs Grant Munro on the movements he is to make. The film technique for Two Bagatelles is pixillation, where the actor is animated frame by frame, as in the film Neighbours/Voisins.