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People who aren’t members of Animation Resources don’t understand how comprehensive our Reference Packs are. This week, we will be posting what each section of our current RefPack looks like, starting today with the Featured section. If you are a member of Animation Resources, click on this post to go to the Members Only page. If you aren’t a member yet, today is the perfect time to join! Our current Reference Pack is our biggest yet, and General and Student Members get access to a special Bonus Archive with even more material from past Reference Packs.

What are you waiting for?

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Lately, Animation Resources has been researching the early history of Japanese animation. We have been searching out video copies of 1960s anime to add to our Animation Archive, and we have accumulated dozens of complete series— hundreds of hours of rare television programs. We will be will be sharing some of them with you in our Reference Packs. Our members have asked us to share complete films and publications with them, not excerpts, so we will be sharing complete half hour episodes with you. We don’t claim that everything here is great. But there are great bits. You can sift through them and discover the gems for yourself.

SD VIDEO:

Kaibutsu-Kun / Gutsy Frog

Curated by JoJo Baptista

Kaibutsu-Kun ep30 (1968) / Gutsy Frog ep098 (1973)
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Kaibutsu-Kun is a horror-comedy series which follows a boy named Tarou Kaibutsu. He is accompanied by his monster friends Dracula, Wolfman and Franken. He also has a human friend named Hiroshi. Throughout the series they encounter all kinds of monsters, and in many cases are put at odds with them. The series was created by Fujiko Fujio, best known for his creation Doraemon. Production alternated between Tokyo Movie (known today as TMS Entertainment) and Studio Zero. It aired from April 21st, 1968 to March 23rd, 1969.

In the second segment of this episode Hiroshi is given a rose by a witch, which of course, turns out to be a monster. The monster develops a ravenous appetite for apples which make it grow to gigantic proportions. It terrorizes the residents of the city. Tarou and Dracula try to find a way to put a stop to it, but their solution doesn’t work (a bomb disguised as an apple). So Tarou engages in a battle with the monster, which is more fun anyway.

There are some nice shots of the rose monster leaning towards the camera at 21:27 and 21:47. And starting at 23:05, there’s some great animation of Tarou beating up the monster and dragging it towards cam. It’s a nice touch to use the angular petals to emphasize the monster’s pain when it bites down. It delivers some extra oomph. I’m reminded of a more extreme example in Bob Clampett’s "Falling Hare" where the Gremlin smashes Bugs Bunny’s foot with a wrench and Bugs strikes some angular poses. The use of the technique in this particular cartoon is a lot more subtle in comparison, but still effective. I can appreciate that while the animation is reused a few times, the angular chomp is applied sparingly, allowing for variation in the animation and not applying the technique formulaically.

REFPACK044: Kaibutsu-Kun ep30

MP4 Video File / SD / 24:53 / 409 MB Download

Gutsy Frog (known as Dokonjo Gaeru in Japanese) is a comedy series created by Yasumi Yoshizawa. It also happens to feature a boy by the name Hiroshi, who mistakenly fell on a frog (Pyonkichi). The frog sticks to his shirt and becomes his companion. The series was produced by Tokyo Movie Shinsha and ran from October 7th, 1972 to September 28th 1974, spanning over one hundred episodes.

The episode I’m featuring follows Pyonkichi, Hiroshi and his friend Goro who are helping a teacher from their school (Minami-sensei) stand in as a temporary landlord for an apartment complex. Minami-sensei wants to rent out a vacant room to a woman, but is stopped short when an oafish man inquires about the room. Pyonkichi schemes to scare the man into not renting the room, making him think it’s haunted by a ghost. The man runs off in fright, but the gang are surprised when he returns and insists on renting the room for free because it’s haunted. The gang hatches another plan to scare the man out of the room.

What I’d really like to talk about here is the movement in Gutsy Frog. Gone are the typical expectations of what makes animation "good"— lots of inbetweens, flowing arcs and secondary action. At its best, Gutsy Frog gets straight to the point. The characters’ motion explodes outwards and has an almost chaotic quality to it. But it isn’t random— these drawings are not unconnected and randomly exposed. The timing and spacing of the animation is carefully planned to accent sharp contrasts in the drawings.

Note above how Hiroshi’s elbows and legs bend from one drawing to the next, creating angular poses which lead your eye through the action. (You can view these poses in motion at 11:07.) This scene was likely animated by Yoshiyuki Momose, who would later go on to animate for Studio Ghibli. There’s a theory here… the angles go in different directions using zig zags, arrows and even straight lines. This creates a unique kind of character movement with an almost electric quality. I’m still not exactly sure how it works myself, but I invite any of our members to contact me if you have ideas of how it works.

This series is quite influential with modern animators such as Hiroyuki Imaishi, known for working on series such as FLCL, Fullmetal Alchemist and Kill la Kill, who also has a very angular quality in his work. I wish I could speak with him about these theories!

REFPACK044: Gutsy Frog ep98

MP4 Video File / SD / 25:34 / 272 MB Download

Chuck Jones cited Buster Keaton, Charlie Chaplin and Harold Lloyd as the film makers he most admired. At the Disney Studios, animators were trained in action analysis classes, studying slapstick comedies frame by frame. These films are like textbooks for animators, packed with techniques for staging, timing and gag construction. Since many of these films are difficult to find today in formats that allow easy still frame study, we will include a slapstick film in every RefPack, so you can build your own library of them to study.

SD VIDEO:

The Unknown Chaplin

Episode 23: "The Great Director"

Kevin Brownlow & David Gill / 1983
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For the past year, we’ve been exploring the great documentaries on film history produced in Great Britain in the 1970s and early 1980s. In this Reference Pack, we’re launching a three part series titled, Unknown Chaplin. Like the series on Buster Keaton we recently shared with you, Unknown Chaplin was directed by Kevin Brownlow and David Gill. This is the third and final episode of that series.

Chaplin was secretive about his working process. He worked with a tight group of technicians and actors and rarely allowed outsiders on the set. When a film was completed, he would order all the outtakes destroyed. In interviews, he provided general answers to questions about his working methods, and the perfection of his film making skills hid all the seams that might reveal how he came about creating these marvelous movies.

But occasionally his instructions to destroy unused outtakes wasn’t heeded. Chaplin’s widow granted Brownlow and Gill access to a secret treasure trove of film that had been stashed away for decades. Included in the batch were sequences that had been cut from City Lights and Modern Times, home movies of visits to Chaplin’s studio by other celebrities, and best of all, sequential takes from many of his greatest films. Brownlow and Gill painstakingly catalogued all the footage and organized it back into the order that the scenes were shot. In so doing, they revealed the process Chaplin used to construct his gag sequences. Brownlow called it the equivalent of archaeology for film making, and the results are amazing.

If you have never seen a Charlie Chaplin film before, you will want to search up a few and view them before seeing this documentary. That will give you the context to understand how Chaplin’s simple and intuitive, yet time consuming process was so important to building films that appear on the surface to be monumentally perfect in every way. Take a moment and think about how improvisational creativity like this could be applied to animated film making… in particular being open in the early stages of design and story to modifying your ideas to improve pacing, personality and clarity of expression.

I remember when I first saw this series on the television program, American Masters. It blew my mind and made me think differently about the best way to create movies. If you have never seen it, I’m sure you will have a similar reaction.

REFPACK044: Unknown Chaplin ep03

MP4 Video File / SD / 52:33 / 806 MB Download

It’s Members Appreciation Time again at Animation Resources, and for the next 30 days we will be sharing reasons why you should be a member of our important project. For more information on the benefits of membership, see the Member Appreciation Page. It’s easy to join. Just click on this link and you can sign up right now online…

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JOIN TODAY!
https://animationresources.org/membership/levels/

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Animation Resources depends on your contributions to support its projects. Even if you can’t afford to join our group right now, please click the button below to donate whatever you can afford using PayPal.

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People who aren’t members of Animation Resources don’t understand how comprehensive our Reference Packs are. This week, we will be posting what each section of our current RefPack looks like, starting today with the Featured section. If you are a member of Animation Resources, click on this post to go to the Members Only page. If you aren’t a member yet, today is the perfect time to join! Our current Reference Pack is our biggest yet, and General and Student Members get access to a special Bonus Archive with even more material from past Reference Packs.

What are you waiting for?

JOIN TODAY!
https://animationresources.org/membership/levels/

The world of animation is much bigger than it might appear to us at first glance. We are all familiar with the films we grew up with, but Hollywood wasn’t the only place that produced great cartoons… Poland, Japan, Russia, China and Europe all have their own traditions and a rich history of animated film making. Animation Resources’ archive contains many foreign films that are rarely seen in the United States. We feature a sampling of interesting animation from around the world in each Reference Pack.

HD VIDEO:

Adventures of Mowgli ep05: Return To Mankind

Roman Davydov / Soyuzmultfilm, Russia / 1971
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In this Reference Pack, we’re concluding Roman Davydov’s series of films based on Rudyard Kipling’s The Jungle Book. The story was broken into five short films, which were produced by Soyuzmultfilm between 1967 and 1971. In 1973, the five films were trimmed and merged into a single feature film, and in 1998 it was released in America in a dubbed version narrated by Charleton Heston. Over the next several Reference Packs, we will continue to share the five shorts with their original soundtracks. Although the dialogue is in Russian, if you are familiar with the books or the Disney version, you’ll have no trouble following along.

Davydov’s first film was produced independently of Disney’s Jungle Book and was released the very same year. They make an interesting subject for comparison and contrast. Disney’s version relies heavily on the personalties of the voice actors, rather than the characters in the story itself. It’s funnier, tending towards being goofy at times, and takes a relatively light-hearted pass at the story. Davydov’s version couldn’t be more different. It follows the book more closely, seriously addressing the themes of death, duty and the meaning of being a human being.

This time we are presenting the fifth episode, titled "Return To Mankind". Here is Wikipedia’s synopsis of the action:

Mowgli is now the head of the wolf pack. He spies women from the village gathering some water, and is confused about why he feels differently about them than he does the jungle folk. The time has come for Mowgli to repay his arch-enemy, the tiger Shere Khan, for breaking the peace truce during the drought. To slay him, Mowgli devises a plan to trap him and his bumbling majordomo Tabaqui in the ravine using the buffalo herds. The plan fails when Shere Khan leaps to a high place, but Mowgli is hot on his tail. After a short brawl, Mowgli is able to finally put Shere Khan’s law-breaking habits to an end by dislocating his skull. Peace returns to the jungle, and the time comes for the flowering of love. Mowgli bids farewell to all his animal friends. It is time for him to leave the pack and go back to the man village where he belongs.

We hope you have found this five part feature film useful in your work. We will begin serializing another Russian feature in our next Reference Pack.

REFPACK044: Mowgli Ep05

MP4 Video File / HD / 19:58 / 985 MB Download

SD VIDEO:

Mr. Wolf

Viktor Gromov / Soyuzmultfilm, Russia / 1949

Victor Gromov was an actor and animation director who served as assistant director on The Humpbacked Horse (1947) [see Reference Pack 041 August / September, 2021]. After World War II ended, Russia began isolating itself from the West, and this film, titled "Mr. Wolf" is a product that reflects the political spirit of the time. It is based on a satirical play by Evgeny Petrov called "The Island of Peace".

Mr. Wolf is an American war profiteer. After making a fortune supplying the military during wartime, he becomes disenchanted with war and becomes a pacifist. The wars and rumors of wars offend his sensibilities, so he packs up his fortune, purchases an isolated island, and declares it "the island of peace". Mr. Wolf’s family is weak and don’t share his altruism nor his enthusiasm for his island home. A pair of newspaper reporters who are spying on Mr Wolf find oil on the island, and report back. Soon capitalists from all over Europe are rushing to the island to claim the oil as their own. Mr. Wolf discovers the oil and he and his family rush to stake their claim. But a group of robber barons has beat them to the punch, holding them at gunpoint. Mr. Wolf is unarmed and ill prepared to defend his oil well. His family chastises him for his pacifism and weakness. But Mr. Wolf has secretly stashed away an arsenal in a safe, and he arms his whole family. A radio message seeking help goes out and is answered by the Russian Navy. Mr. Wolf sees the error of his ways and declares that from then on, the island of peace will instead be used as a Soviet army and air force base.

Stylistically, this film is very interesting. It resembles post-War Columbia cartoons very closely. But there is no way that Soviet animators would have access to American cartoons during this period. The move toward graphic simplification must have been happening concurrently in Hollywood and at Soyuzmultfilm. This transfer is very rough, and the frames aren’t cleanly separated, but I think you’ll still be able to get inspiration from the way the characters move and act in this film.

REFPACK044: Mr Wolf (1949)

MP4 Video File / SD / 10:06 / 166 MB Download

SD VIDEO:

Peter And Little Red Riding Hood

Evgeniy Raykovskiy & Boris Stepantsev / Soyuzmultfilm, Russia / 1958

"Peter And Little Red Riding Hood" is an unique take on the classic fairy tale, incorporating reflexive gags that gently make fun of fairy tale cartoons.

A boy named Peter is looking for something to do. He sees a poster for a film screening, and realizing it is about to start, he decides to go to the theater. When he gets there, the show is sold out, but he finds a way in through the back door and sees that a film based on Little Red Riding Hood is being shown. He bumps into the screen and enters the film, much like Buster Keaton in Sherlock Jr. (1924). The narrator of the film notices his intrusion and tells him to get lost, so he can tell the story of Red Riding Hood and the Big Bad Wolf. Peter hides in the bushes, where he spies Red Riding Hood meeting the wolf. Angered, Peter decides to help Red Riding Hood. He warns her of her danger, and sends Red Riding Hood to fetch the hunters, while Peter tails the wolf.

Peter catches up with the wolf and tells him that he has read this story before, and it isn’t going to end well for him. The wolf is alarmed and runs off in the other direction while Peter goes to Grandmother’s house to warn her. When she hears that the wolf is nearby, Grandmother hides in a closet, and Peter puts a dummy of her in the bed. The wolf is too tempted to pass up the opportunity to eat Grandmother and Red Riding Hood, so he enters the house and eats the dummy in one gulp, not noticing that it isn’t Grandmother.

The Wolf disguises himself as Grandmother and Peter disguises himself as Red Riding Hood. They play out the "Oh Grandmother! What big eyes you have!" routine, but Peter keeps messing up his lines. Meanwhile, Red Riding Hood is leading the huntsmen to Grandmother’s house. The wolf grows impatient with Peter, who is stalling to give the hunters time to arrive. He lunges at Peter and a chase ensues. Peter runs so fast, he runs right off the screen and into the darkened theater. He jumps back into the film just as the huntsmen arrive and take the wolf away at gunpoint.

Red Riding Hood cries because she thinks Grandmother has been eaten, but Peter reveals that she is safe, hiding in the cupboard the whole time. Red Riding Hood thanks Peter for his help and a "The End" card appears behind Peter on the screen. The film is over, so Peter shrugs, steps off the screen and walks away.

At the time "Peter And Little Red Riding Hood" was being made, Soyuzmultfilm had reached a peak with its hand drawn and puppet animation. This film exhibits tremendous style and draftsmanship. Pay particular attention to the animation of Peter. His personality shines through well observed gestures and specific types of walks. Milt Kahl couldn’t have done better.

REFPACK044: Peter And Red Riding Hood

MP4 Video File / SD / 18:24 / 337 MB Download

SD VIDEO:

Goal! Goal!

Boris Dyozhkin / Soyuzmultfilm, Russia / 1964

At Souyuzmultfilm in the late 1940s and 1950s, there was a stark division between animators and directors. Animators only animated. They had no say in the rest of the process. But in the 60s, largely due to the urging of Fyodor Khitruk, a new working method was introduced which involved the animators’ input from the very start. This led to what was called the "aesthetic switch"— films became more of a team effort and the designs became streamlined and more animatable.

Boris Dyozhkin had a three decade long career as a director and animator at Soyuzmultfilm. In his first couple of decades, he was an exception to the rule at Soyuzmultfilm. He animated extensively on his own shorts. This made for a total integration of staging, posing and action, as well as allowing for split second timing. "Goal! Goal!" was a great success for Dyozhkin, leading to a sequel called "A Match Revenge" in 1968, and a series of shorts dealing with soccer, track and field, and figure skating.

This film has no dialogue and the action speaks for itself, so I won’t provide a detailed synopsis. The basic concept is that there are two opposing hockey teams: The Meteors and The Pennants. The Meteors are the defending champions who are aggressive, rude and arrogant. The Pennants are a young team, who although they are newcomers to the sport, have a lot on the ball… or rather on the puck. All looks lost for the Pennants until the rookie takes the ice…

We think you are really going to find a lot to like this film. Like John Sibley’s animation in Disney’s Goofy sports cartoons, the action can be very extreme and still maintain perfect clarity.

REFPACK044: Goal! Goal! (1964)

MP4 Video File / SD / 21:00 / 787 MB Download

SD VIDEO:

Koziolek Matolek ep03: Under The Pyramids

Ryszard Slapczynski / Studio Miniatur Filmowych, Poland / 1969

Now we shift from Russia to Poland. Studio Miniatur Filmowych in Krakow was established in 1958, and since then it has produced nearly 1,500 animated films. This series, titled The Strange Adventures of Koziolek Matolek was produced between 1969 and 1971 and 26 episodes were made. The current episode is titled "Under The Pyramids". We will be sharing more of these in upcoming Reference Packs.

Koziolek Matolek was created in 1933 as a character in Polish comic books. The idea behind the character is a bit surreal, and might seem odd to us in America… Koziolek Matolek is a goat who undertakes a quest to find Pacanow, a town where he has heard that they make shoes for goats. His travels take him to the ends of the Earth and throughout time from the jungles of Africa to medieval Europe to the Wild West. Although the character’s adventures have been well known for generations in Poland and are a staple of children’s literature there, I don’t believe any of the stories, comics or cartoons have ever been translated and distributed outside of that country.

The cartoons were directed by a variety of animators, and the character looks a bit different in each of the individual director’s episodes. The focus is on funny movement and expressions, all while maintaining an admirable level of clarity and economy. This series is a model of what web cartoons could be.

REFPACK044: Koziolek Matolek Ep03

MP4 Video File / SD / 08:41 / 174 MB Download

Get your friends to join Animation Resources!

More members mean we can bring you more special downloads.

It’s Members Appreciation Time again at Animation Resources, and for the next 30 days we will be sharing reasons why you should be a member of our important project. For more information on the benefits of membership, see the Member Appreciation Page. It’s easy to join. Just click on this link and you can sign up right now online…

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JOIN TODAY!
https://animationresources.org/membership/levels/

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Animation Resources depends on your contributions to support its projects. Even if you can’t afford to join our group right now, please click the button below to donate whatever you can afford using PayPal.

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People who aren’t members of Animation Resources don’t understand how comprehensive our Reference Packs are. This week, we will be posting what each section of our current RefPack looks like, starting today with the Featured section. If you are a member of Animation Resources, click on this post to go to the Members Only page. If you aren’t a member yet, today is the perfect time to join! Our current Reference Pack is our biggest yet, and General and Student Members get access to a special Bonus Archive with even more material from past Reference Packs.

What are you waiting for?

JOIN TODAY!
https://animationresources.org/membership/levels/

Every other month, Animation Resources shares a new Reference Pack with its members. They consist of an e-book packed with high resolution scans and video downloads set up for still frame study. Make sure you download the Reference Pack before it’s updated. When it’s gone, it’s gone!

REFPACK044: February / March 2022

PDF E-BOOK:

Leo O’Mealia: Sport Cartoons

The New York Daily News (1950)
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Before the era of live TV broadcasts with instant replay, low light photography for night games, and long telephoto lenses to capture the plays close up from a long distance, sports fans depended on the newspaper for their daily sports fix. Sports columnists rattled off the play by play of the previous day’s games in great detail, and put the scores in context with complex statistics. But those were just words… the fella responsible for putting a face to the facts and figures was the sports cartoonist.

Today, only a tiny handful of sports cartoonists remain working, but in the post-war era, every paper had a great artist who filled the sports pages with caricatures, likenesses of famous figures in the news, and funny gags involving the team mascots. A few years ago, Richard Sandimir wrote in the New York Times…

"They blended the skills of a caricaturist and the mind-set of a columnist. They were entertainers and ink-stained jokesters. They were newsroom denizens and deadline artists who churned out five or six cartoons a week that received prominent display. If they possessed power, it was that they drew players, owners and managers in ways that reporters could not with their words. Sports cartoons were usually more amusing and informative than critical, which reflected the times when the sports section was the fun-and-games department."

Leo O’Mealia was discovered by Winsor McCay and, assisted the great early newspaper cartoonist Tad. He created a daily comic strip called Wedlocked, which ran for many years. During the late 1930s, he worked at DC Comics on Action Comics, Adventure Comics and Detective Comics, but he was best known as a sports cartoonist for The Rochester Herald, The Rochester Times, The Globe, and in particular, The New York Daily News. His most famous cartoon was an image of the Brooklyn Bum which was featured on the front page of The New York Daily News to celebrate the 1956 World Series, the year where the Brooklyn Dodgers beat the New York Yankees in the seventh game.

That is about all we know about O’Mealia here at Animation Resources. He didn’t get syndicated as widely as his contemporary, Willard Mullin, so he is largely forgotten today. But this little book shows what an amazing artist he was. Pay particular attention to the sequential comics illustrating a single action, like pitching a baseball or landing a punch in a prize fight. Each panel is a perfect key pose. He would have made a great animator!

REFPACK044: O’Mealia Sport Cartoons

PDF / 106 Pages / 184 MB Download

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SD VIDEO:

Two Shorts By UPA

Pink And Blue Blues (1952) / Trees & Jamaica Daddy (1957)

The reputation of U.P.A. was built upon its simple, modern style. It reflected the tastes of the early 1950s by adopting elements of contemporary art and sophisticated cartooning from magazines like Esquire and The New Yorker. The films produced by the studio looked and sounded nothing like the products of any other studio at the time.

You might think that simple cartoons like these were inexpensive to produce, but that wasn’t the case. Budgets for U.P.A. cartoons were as high as those at Disney, largely because of the cost of producing the musical scores. Even though it may not be apparent to us today, the music in U.P.A. cartoons was considered avante garde at the time. It was often composed and performed by top contemporary classical and modern jazz musicians. Personally, even though I appreciate this kind of music, I find it odd to hear sounds resembling Stravinsky and Cecil Taylor in cartoons. It must have been even stranger to audiences in the early 1950s. Years later, I asked Leo Salkin, a story artist at U.P.A. about this and he said that in retrospect, he considered their choice of music to be a huge mistake. In his opinion, the highly paid jazz artists had little connection with what was happening on the screen, and just provided esoteric wallpaper to the soundtracks. Sometimes, the music you enjoy listening to at home isn’t the best music to use as a cartoon soundtrack.

U.P.A. also broke from the typical Hollywood cartoon mold by building their cartoons around human characters, not funny animals. Mr. Magoo was created by John Hubley, based on an uncle of his, as well as a dash of W.C. Fields. The original design was lumpy and somewhat grotesque, until Spencer Peel refined the design into the form we know today. Magoo is not a typical cartoon character. He isn’t goofy, cute nor lovable. In fact, he is irascible, ornery and at times, frustrating. It was difficult for the story artists to strike a balance that wasn’t off-putting. Jim Backus contributed a lot to making the character more appealing by throwing in off the cuff ad libs, much like Jack Mercer did for Popeye. Pete Burness was well suited to direct the series after Hubley moved on. He was known at the studio for his temper, earning him the nickname "Pete Hothead". His personality echoed some of Magoo’s traits.

"Pink & Blue Blues" was a fairly early entry in the series and like many U.P.A. cartoons, it features brilliant layout and color. Those elements are certainly worthy of study. But the cartoon itself is more clever than it is funny, despite building in momentum nicely towards the end. A lot of people mistake U.P.A.’s stylization as being basically flat, and the backgrounds that are designed like scenic backdrops certainly are dimensionless. But take a look at the animation of Magoo peering in the refrigerator at 2:10. His head turns with perfect solidity. Although the design was flat, the animation wasn’t.

REFPACK044: Pink And Blue Blues (1952)

MP4 Video File / SD / 06:17 / 128 MB Download

"Trees and Jamaica Daddy" is an odd short from the end of the Columbia era. It was an attempt to create new characters, but Ham and Hattie don’t really offer much in the way of personality. Nothing much happens in this cartoon, but the Calypso music in the second half carries it better than the ukulele music of the first half, or more abstract jazz of the early U.P.A. shorts. "Trees" isn’t very good. Even though the color by Jules Engel is very nice, the background layouts are busy to the point of being overpowering at times, and the action has no momentum. Nothing much happens in the second half either, but at least the music and animation make up for it. In "Jamaica Daddy", the focus is on Jimmy Murakami’s goofy sense of design and Fred Crippen’s simple, but fun animation. This is clearly a prototype for television animation. Fred Crippen went on to use a very similar style in his TV series Roger Ramjet. Jules Engel’s color work here is outstanding too, and it is very similar to the way he handled color in The Alvin Show at Format Films.

REFPACK044: Trees And Jamaica Daddy

MP4 Video File / SD / 07:02 / 222 MB Download
Many thanks to Animation Resources Advisory Board Member Steve Stanchfield for sharing these rare films by UPA with us.

It’s Members Appreciation Time again at Animation Resources, and for the next 30 days we will be sharing reasons why you should be a member of our important project. For more information on the benefits of membership, see the Member Appreciation Page. It’s easy to join. Just click on this link and you can sign up right now online…

---

JOIN TODAY!
https://animationresources.org/membership/levels/

---

Animation Resources depends on your contributions to support its projects. Even if you can’t afford to join our group right now, please click the button below to donate whatever you can afford using PayPal.

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