‘Great’ Women throughout History

Women’s History Month Archive Events

In March UCA Archives and Special Collections celebrated Women’s History Month by hosting different events and promoting themed material as part of our #UCAWHM social media campaign.

As part of our celebrations marking Women’s History Month, we held a pop-up event on 18th March to showcase animation archive material featuring prominent female historical figures such as Queen Mary I, Queen Elizabeth I, Queen Victoria and Margaret Thatcher.

Women's History Month Display

Great Women Throughout History Pop-Up Display

Material from the animation Millennium – The Musical included artwork from a musical sequence about the Tudor dynasty. In the sequence, Queen Mary I is depicted as ‘Bloody Mary’ with crowds watching in horror at the sight of flames burning Protestants. The portrayal of her character is shown in the image above. The artists have designed Mary with an unpleasant, almost conniving facial expression, with the scene consisting of Mary chuckling as she rubs her hands together. In contrast, Queen Elizabeth I has an upbeat section, celebrating the reign of ‘Good Queen Bess’ as ‘the Virgin Queen’. In the artwork displayed next to the image of Mary, Elizabeth is smiling as she playfully winks at the viewer in the scene. These contrasting images present an interesting comparison of the two rulers, and are one example of how they have come to be portrayed throughout the years following their rule.

We also looked at material from the Oscar award-winning animation Great, which features caricatures of Queen Victoria. The other figure we focused on was Margaret Thatcher, whose character is portrayed in the animated series Margaret Thatcher: Where am I Now? The Steve Bell animation takes a satirical look at the life and work of Britain’s first female Prime Minister.

Our Flickr account with images used in our advertising talk

Our Flickr account featuring images used in our advertising talk

On 19th March we also held a talk featuring material from our other collections, such as the Tessa Boffin archive and the West Surrey College of Art and Design archive. ‘Men Act, Women Appear: Women in Art and Advertising’ discussed the gender portrayal of woman in advertising, with reference to college prospectuses and course guides.

We advertised these events via our social media sites, such as Facebook and Twitter using #UCAWHM as our hash-tag of choice. Throughout the whole of March we posted quotes and images from our collections, which were also available for viewing on our Flickr account. Finally, we pulled together the results of our campaign into a story, using Storify.

Our media campaign with #UCAWHM

Our extensive media campaign with #UCAWHM

 We hope that through our efforts we have contributed towards the celebration of Women’s History Month and highlighted women whose lives have played a prominent part in society.

The archive material featured is available to search on the UCA Archives and Special Collections Online Catalogue.

All images are for educational purposes only. Artwork copyright Bob Godfrey. Millennium – The Musical copyright Channel Four Television Corporation.
Contact UCA Archives and Special Collections for more information at archives@ucreative.ac.uk

Hannah Ratford, Archive Cataloguer

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Love is in Archives…

…Every shelf we look around! February Archive Pop-Up Event

We hosted our latest Pop-Up event to showcase archival material with themes of love and romance in line with Valentine’s Day.

Love is in the Archive's Display

Love is in the Archive’s Display

The day of love finds its origins as a liturgical celebration for one or more saints named Valentinus. Valentine’s Day was not associated with romantic love until the Middle Ages, when ideas of courtly love and chivalry gained popularity. There are references to the association of Saint Valentine and love throughout the Tudor period, where the first surviving Valentine’s letter can be traced. However, the day became more popular in the 18th century, when lovers gave each other flowers, confectionery and greetings cards. In modern times certain symbols have become associated with love and Valentine’s Day, such as love hearts, doves and the figure Cupid.

We see the influence of modern ideas surrounding Valentine’s Day in the Henry’s Cat episode ‘Valentine’s Day’. Throughout the episode we see the symbol of the heart and references to romantic love. In this episode Henry’s Cat and his friends attempt to cheer up Pansy Pig by hosting a Blind Dates show. Will Pansy find her true love through the processes of the dating trials of the 20th century?

Items from Shakespeare's Music Hall, including material from A Midsummer Night's Dream

Items from Shakespeare’s Music Hall, including material from A Midsummer Night’s Dream

We also displayed items from Shakespeare’s Music Hall, or, A little of As You Like It does you good. The material for this animation project was based on a musical written by Colin Pearson, which looked at the life and works of William Shakespeare. The musical features songs about a selection of plays by Shakespeare, including Hamlet, where St. Valentine’s Day is mentioned by Ophelia:

Tomorrow is Saint Valentine’s day,
All in the morning betime,
And I a maid at your window,
To be your Valentine.

We displayed artwork showing scenes from A Midsummer Night’s Dream and a storyboard for Romeo and Juliet, the famed star-crossed lovers.

Storyboard for a Romeo and Juliet sequence (Shakespeare's Music Hall)

Storyboard for a Romeo and Juliet sequence (Shakespeare’s Music Hall)

View our other collections via the UCA Archives and Special Collections Online Catalogue.

Shakespeare’s Music Hall images copyright Bob Godfrey.
All images are for educational purposes only.

Hannah Ratford, Archive Cataloguer

Raiders of the Lost Archives: Fantasy and Adventure

Fantasy and Adventure with Kevin Saves the World!

Our January Pop Up Event focused on the recently catalogued Kevin Saves the World series, a children’s animation series written by Daniel Postgate and produced by Bob Godfrey Films and Kine Aune. Based on the book of the same title, the series features Kevin, a young boy who wants to live an ordinary life but keeps finding himself involved in all kinds of unusual adventures. These unusual adventures transport the viewer into various fantasy scenarios, and so the natural theme for our Pop Up Event was fantasy and adventure.

Material from various episodes of the Kevin Saves the World series

Material from various episodes of the Kevin Saves the World series

Fantasy is a term generally used to define a genre that commonly uses magic and other supernatural phenomena as a primary plot element. The genre was traditionally inspired from mythology and folklore, but developed as a distinct type of literature during the Victorian period. Farah Mendlesohn attempts to define the types of literary fantasy in her book Rhetorics of Fantasy. She offers the follow categories into which fantasy genre can fall:

Portal Quest: Essentially there is a portal through to another world that has magical elements

Immersive: The entire story is set in a magical world

Intrusive: Elements from the magical world seep into our own

Liminal: The story is set in our world. Magical elements are accepted as opposed to being surprising

We find elements of Portal Quest fantasy (Kevin and the Computer Game, Kevin and the Big Lizard, Kevin and the Baked Beanstalk). We also find elements of Intrusive fantasy (Kevin and the Genie, Kevin and the Boogie Woogie Bogeyman, Kevin and the Recipe Book, Kevin and the Ghosts, Kevin and the Goblet of Eternal Life). However we have a crossover with Kevin and the Vikings, where the hero is transported through a portal, but then returns to the real world with the magical elements escaping and following him to create an Intrusive fantasy. And then of course, every episode borders on the Liminal. Throughout his adventures, we are reminded that Kevin is an ordinary boy who wants an ordinary life, and whilst he sees the fantastic elements as an annoyance, he does not seem particularly surprised by them.

Pre-Production material for Kevin and the Beanstalk and Kevin Saves the World episodes

Pre-Production material for Kevin and the Beanstalk and Kevin Saves the World episodes

It should be noted that Mendlesohn specifically states that her book applies to literary fantasy, and does not consider television and film. So perhaps we should not categorise Kevin Saves the World in this way. Instead of categories, we can look at sub themes. There are clearly influences from legends (Kevin and the Big Lizard, Kevin and the Goblet of Eternal Life), fairy-tales (Kevin and the Genie, Kevin and the Baked Beanstalk), folklore (Kevin and the Boogie Woogie Bogeyman, Kevin’s Christmas Treat), mythology (Kevin and the Vikings), and even the supernatural (Kevin and the Recipe Book, Kevin and the Ghosts, Kevin and the Seven Deadly Drop-Ins). Alongside these influences, we also see an element of popular culture – the Kevin and the Goblet of Eternal Life storyboards and scripts pose more than one similarity to Indiana Jones and the Last Crusade!

Whichever way we choose to define or categorise the episodes of Kevin Saves the World, it is apparent that the series as a whole combines a number of influences from which its roots stem. However, at the end of each episode Kevin, much to his relief, is able to return to the real world and resume his ordinary life… Until the next adventure!

Archive resources and freebies!

Archive resources and freebies!

The Kevin Saves the World series is now catalogued as part of the Bob Godfrey Collection. View it via the UCA Archives and Special Collections Online Catalogue.

Kevin Saves the World images copyright Bob Godfrey and Daniel Postgate.
All images are for educational purposes only.

Hannah Ratford, Archive Cataloguer

“What a terrible mess. Kevin, what have you been doing?”

Cataloguing Kevin Saves the World

We are continuously working behind the scenes and making additions to the UCA Archives and Special Collections catalogue. The catalogue was recently updated online to include the newly catalogued series Kevin Saves the World, a children’s animated series based on a book of the same name by author Daniel Postgate. One of the larger series of the Bob Godfrey Archive, Kevin Saves the World comprises some 38 boxes of animation material, including correspondence, pencil drawings, acetate cels, dope sheets, sound recordings, scripts, and storyboards to name a few!

Material from Kevin and the Genie

Material from Kevin and the Genie

An initial delve into the boxes suggested that there were five animated shorts that formed the series: Kevin Saves the World, Kevin and the Computer Game, Kevin and the Big Lizard, Kevin and the Genie, and Kevin and the Bogeyman. There was pre-production and production material for these episodes. The scripts and storyboards provided information on the content of each episode, and some title scenes revealed the credits of the animations. Interestingly, the titles were in both English and Norwegian. These revealed that the series was produced by Bob Godfrey Films and Kine Aune and supported by the Norwegian Film Institute and the Nordisk Film & T.V. Fund.

Progress was being made. The key individuals and organisations behind the series and the synopsis of each episode were now known. However, there was still little contextual information about the series. When the last couple of boxes of material were sorted through, things got a little more complicated. There was evidence of other episodes previously unknown about – Kevin’s Christmas Treat, Kevin and the Recipe Book, and Kevin and the Ghosts. Not long after this discovery, an entire box full of correspondence and scripts was discovered. Sifting through this material created a more complete picture of the production of the series.

Just a small selection from the Kevin Saves the World scripts

Just a small selection from the Kevin Saves the World scripts

In total 14 episodes were found to have pre-production material (scripts and storyboards). There was partial production material for 2 of the episodes, and full production material for 5 of the episodes. The correspondence records revealed that a longer series of around 12-13 episodes was originally planned. However, it proved difficult to find broadcasters who were willing to broadcast animated shorts of only 5 minutes. The series also faced funding difficulties, which explains the halt in production and the presence of only pre-production material for a majority of the episodes. The first five episodes were broadcast in Norway, where some of the available funding had been sourced.

Using the information gathered, the series catalogue structure fell into place. A ‘series’ record was created for Kevin Saves the World. Each individual episode was then arranged underneath this with its own ‘sub-series’ record. Under these records, the material was arranged into pre-production and production material, where it existed. Correspondence had its own ‘sub-series’ record, as the material covered the contents of multiple episodes and was relevant to the series as a whole. Correspondence was then arranged into different ‘files’ according to their original order. Find out more about the structure of the catalogue by viewing this presentation.

Kevin Saves the World Catalogue Screenshot

Kevin Saves the World Catalogue Screenshot

After arranging a structure, further contextual information is added to the records in the form of authority files. Relevant names of people and organisations involved with the series are created in the authorities database and linked to the records, so that names may be cross-searched by users. Subject terms are also applied to identify key themes and subjects within the material.

Kevin Saves the World Authority Names Screenshot

Kevin Saves the World Authority Names Screenshot

The Kevin Saves the World series is now available to view on the UCA Archives and Special Collections Online Catalogue.

Kevin Saves the World images copyright Bob Godfrey and Daniel Postgate. All images are for educational purposes only.

Hannah Ratford, Archive Cataloguer

Santa Who? Representations of Santa in the Archives

Santa Who? Christmas Pop-Up Event

In the spirit of Christmas, we decided to host our latest Explore your Archives pop-up event around the theme of the man in the red suit. Items displayed in the Christmas Pop-Up Event included material from animations such as The Christmas Dinner and The Mystery of the Missing Santa (both from the Henry’s Cat series) and Kevin’s Christmas Treat (from the Kevin Saves the World Series). The items demonstrate individual takes on the representation of Santa. The pop-up event explored questions such as “where does his reputation stem from?” and “how has his representation in popular culture developed over time?”

Christmas Pop-Up Display

Christmas Pop-Up Display

There are different suggestions for the origins of this holiday figure. Records date back to describe figures such as the Norse God Odin, Father Christmas and Saint Nicholas, with each displaying different characteristics now attributed to the modern day character – generosity, benevolence, kindness and good cheer.

As well as the name, the physical representations of Santa have developed over the years. In modern day the character is recognisable as a slightly plump older gentleman with a white beard, red suit and black boots. A common misconception is that this image derives from Coca-Cola. Instead, from the 1920s the company popularised a character design that was already imbedded in popular culture. The man in the red suit was a representation of Saint Nicholas by Thomas Nast, a respected painter who drew 33 Christmas drawings for Harper’s Weekly between 1863 and 1886.

Thomas Nast came to find inspiration from the poem by Clement Clarke Moore’s A Visit from Saint Nicholas, commonly known as The Night before Christmas, and depicted a jolly Santa in a red suit who gave gifts to children. In 1931 Coca-Cola commissioned illustrator Haddon Sundblom to develop a new Santa image for their advertisements. He produced new images every year through to 1964.

Sketch of Santa, Kevin’s Christmas Treat

The animation material held at UCA develops upon this traditional image, with artists demonstrating their individual takes on Santa. Although commonly depicted with the red suit and black boots, we see varying representations of Santa:

Henry’s Cat, The Christmas Dinner: Henry’s cat and his friends end up getting stuck together. Santa arrives in his sleigh, hears their dilemma and rescues them by coming down the chimney. Here we have a kind Santa who is willing to help those in need. He maintains traditional representations by arriving on a sleigh and travelling down the chimney.

Henry’s Cat, The Mystery of the Missing Santa: It is up to Henry’s cat and his friends to rescue the kidnapped Santa. This time Santa is vulnerable and needs help. The kidnapper threatens to cut the bobble off of Santa’s hat, a key icon of modern day Santa’s image.

Kevin’s Christmas Treat: Initial sketches demonstrate Santa as an unattractive character – he is shown shouting into a megaphone with large pointy teeth. In the storyboards we are presented with a mechanical Santa, the episode demonstrating the modern day commercialised side of Christmas.

Sketch of Santa, Kevin's Christmas Treat

Sketch of Santa, Kevin’s Christmas Treat

As well as archival material, we also made use of material found on the library shelves. An old-fashioned Christmas in illustration and decoration, C. Hornung, (New York: Dover Publications; London: Constable, 1970) contains black and white images portraying Christmas scenes.  Christmas: Vintage Holiday Graphics, ed. Jim Heinmann (Koln;London: Taschen, c.2005) pays homage to St Nick via vintage graphic and print media. The pages are full of colourful Christmas images, with one showing a Hawaiian scene with Santa and his reindeer sipping on cocktails! These sources complemented our theme on the representation of Santa.

Volunteer Altaira with the Christmas Pop-Up Display

Volunteer Altaira with the Christmas Pop-Up Display

Look out for the Kevin saves the World series, soon to be included in the UCA Archives and Special Collections online catalogue. An entry for Henry’s Cat can be found here: Henry’s Cat

Kevin’s Christmas Treat Images copyright Bob Godfrey and Daniel Postgate. All images are for educational purposes only.

Hannah Ratford, Archive Cataloguer

Gender Portrayal with Bassett’s Jelly Babies

Jelly Babies – They’re in a wibbly wobbly archive of their own!

Whilst cataloguing the collection of Bob Godfrey, we came across some tasty treats in the form of Bassett’s Jelly Babies! The material relates to two television commercials for the product, and reveals a fascinating insight into character design and advertising.

Pack design with colour annotations

Pack design with colour annotations

Well-known confectionaries, Jelly Babies have a fascinating history surrounding their production and their name. According to Tim Richardson, author of Sweets: A History of Tempatation (Bantem Press:2003), Jelly Babies were originally invented in 1864 at Fryer’s, a Lancashire Sweets Firm. The tasty treats were an invention of Austrian Immigrant confectioner called Steinboch (known as Springbok locally). The name he coined and the name Jelly babies were initially marketed under was ‘Unclaimed Babies’.

In 1918 a firm named Bassett’s in Sheffield began the production of their “Peace Babies” to mark the end of the First World War. The production of the sweet was suspended during WW2 due to wartime shortages. The name ‘Peace Babies’ would also have been quite ironic given that war had just broken out. Following on from the end of the Second World War, in 1953 the product was re-launched as “Jelly Babies”.

In 1989 Bassett’s were taken over by the company Cadbury-Schweppes. This saw the re-marketing of Jelly Babies. Prior to this, all colours of Jelly Baby were the same shape. The new Jelly Babies were each given their own colour and name. Further re-marketing is demonstrated within the material held at UCA. The material in the animation archive relates to two television commercials produced in the 1990s: Cup Final and Eat to the Beat. Some items provide evidence of a new character design, and include character analysis sheets and drawing designs of each character. The development of the character traits can be seen in the animation cels used to depict the developing versions. One set of cels was accompanied by a fax from the advertising agency, approving final versions and suggesting amendments to other designs.

One note that caught our eye was the amendment suggested for the yellow Jelly Baby ‘Bubbles’. The amendment states ‘Version 2 was the closest colour however it was too bright and too yellow. She needs to be made paler with perhaps a bit of red. She is also a bit fat and needs to be slimmed down a bit’.

Extract from a fax asking Bob Godfrey films to slim down Bubbles (1994)

Extract from a fax asking Bob Godfrey films to slim down Bubbles (1994)

The animators followed this amendment, with the following annotation written on Bubbles version 2: ‘Make paler + more red. Slim down!’ We are then presented with a slimmer, paler Bubbles design in the New Version 2. This amendment of presenting a slimmer character is not used for any of the male characters. The other characteristics of the new female Jelly Baby are also of note. Prior to the redesign in Godfrey’s work, Bubbles was distinguished by larger ears and a bigger nose. In the new design, Bubbles is distinguished from the male Jelly Babies by focussing on her apparently ‘feminine’ aspects. She now features a long-haired ponytail, a red and white polka dot bow and a red beaded necklace. Bubbles also appears to be a little shorter than her male counterparts, as demonstrated in this video of Cup Final. It is relevant at this point to note that the other female character, Baby Bonny, is portrayed as wearing a frilly bonnet and is entirely pink.

Left: version 2 of Bubbles character design. Right: new version 2 of Bubbles character design.

Left: version 2 of Bubbles character design. Right: new version 2 of Bubbles character design.

It is possible to view this redesign in the wider context of gender portrayal in animation. Studies have been conducted in relation to gender representation in animation. Read papers from the same era as the Jelly Babies commercials here and here. The results suggest that extremes are used to depict female and male characteristics in order to distinguish between the two sexes. It is also suggested that animations have a male lead character majority. This is evident with the Jelly Babies, with a ratio of four male characters to two female.

So what about present day gender representation? After recently purchasing a packet of Jelly Babies (for research purposes, of course) it was apparent that the main characteristics of the Jelly Babies have not changed much during the past 20 years. We are presented with Bubbles on the front of the pack, beaded necklace and polka dot bow still intact. This more recent article discussing animations on Cartoon Network suggests that not much has changed in terms of disparities between male and female character animation: Animation and Socialization Process: Gender Role Portrayal on Cartoon Network

Look out for the Jelly Babies series, soon to be included in the UCA Archives and Special Collections online catalogue.

Hannah Ratford, Archive Cataloguer

Its Great! Britain’s First Oscar Winning Animation

As our catalogue entry for Great, 1975, Britain’s first Oscar winning animation is up then its a good time to provide background into what makes it so ‘Great’!

This animation is based on the life and times of Isambard Kingdom Brunel, engineer, set in Victorian England.  Great is a 30 minute comic-opera based on the life of Victorian engineer Isambard Kingdom Brunel.

This film showcases technical developments within 2D animation, showcasing a combination of animation styles, including real life actions sequences.

The film which was too long for a short and too short for a feature, was not widely seen in cinemas but it did go on to become the first British film to win the Academy Award for Animated Short Film and also won the best animated film at the British Academy of Film and Television Arts.

UCA holds animation Cel artwork, drawings, sketches, and dope sheets, and helps de-mystify the process of creating 2D animation and the different stages involved, and would be ideal for someone exploring how to create a 2D animation, and interested in the history of animation, what use of acetate cels add, the use of colour blocking, what different colours were used and why were they changed?

In terms of social history, this is a fantastic look at how many ways well- known figures are portrayed. This is an irreverent look at key, often respected figures, such as Isambaard Brunel, which could cause offence. Its interesting to compare the images of Brunel to more stately images, such as one’s seen in the Brunel museum.

Likewise we see an excellent image of Queen Victoria, sitting on her ‘throne’, aka the toilet! The power of image to reduce people of ‘power’ such as the royal family, to comedy figures…

Next year, 2015, is Great’s 40th anniversary, so watch this step for events and exhibitions

 

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Ways of using Animation Archives in Studio Practice

Adam Sharp, Producer from A&BTV explains how the archives of Roobarb, created by Grange Calveley and animated by Bob Godfrey, helped to develop a new series, Roobarb and Custard

 

Bob Godfrey logo 001resize

 

‘Roobarb was created by Grange Calveley in the early 1970’s. Grange’s first sketch of Roobarb (on top of a piano with a brush) encapsulates beautifully the concept and character of the show – based entirely on Grange’s own pet dog.

 

From this early drawing, Grange wrote the entire 30 episode series.

 

Grange worked with animation director, Bob Godfrey, to create a test animation of what would later become episode 1 and set about getting a commission from the BBC. Once commissioned a team of animators, including students from St Martin’s started to draw the series. There was no style-guide as such other than employing the wobble or boiling effect, which was both economically and logistically pragmatic.

 

The series was a critical and commercial success garnering awards and a massive audience of 7 million within weeks of first transmission.

 

Unfortunately, all the original artwork for the 1974 series was lost in a studio fire in the 1980’s.

 

In creating a new show 30 years later, we decided we had to go back to the original episodes to help create the style-guide using screen grabs. Interestingly the TX quality of the original shows is nowadays deemed substandard and would not pass QC. There were discussions at the time to bring the animation bang up to date and clean the entire look and feel up. We decided however to take the best elements of the original series and retain the loose style and boiling effect in order to make the new series look and feel as much as possible like a natural progression from the original show.

 

Grange had already written the 39 new episodes. Each script starts with a sketch / image of what Grange is trying to portray in that particular story. These and other images that Grange creates at this stage are used to convey a look and feel for the finished animation – a pre-storyboard guide. It was imperative that we found a new animation team that;

  • Understood the history and heritage of the characters involved
  • Could work with us and the original series screen grabs to create the style-guide
  • Understood the humour and subtleties of Grange’s writing and characters

 

After a long and exhaustive, global search we landed with Gerard O’Rourke’s Dublin-based, Monster Animation. Gerard’s animation director Jason Tammemagi was then tasked with the new series.

The style sheets and storyboards were then used in a relatively straight-forward manner to create the new show with Flash. The only real issues were then deciding on how much of a wobble to include and how the marker-pen colour changes could be implemented best.

The new series “Roobarb and Custard Too” was first broadcast to critical acclaim in 2005 on Channel 5’s Milkshake strand and continues to be shown today.

For more information go to http://www.roobarbandcustard.tv’

Images of the storyboards produced from the original archives of Roobarb are available to internal students and researchers to UCA http://imagebank.ucreative.ac.uk/?c=535

The Bob Godfrey Studio Archive catalogue can be found here http://archives.ucreative.ac.uk/CalmView/Record.aspx?src=CalmView.Catalog&id=BG&pos=1

 

 

 

Preserving the Collections: The Challenges of 2D Animation Preservation

The Bob Godfrey collection comprises several different media from acetate animation cels, paper drawings, storyboards, scripts, dope sheets and occasional audio tracks. One of the big issues we are facing is how best to preserve a multi-media collection of this kind, and more specifically how best to preserve acetate animation cels.

Acetate is a highly volatile format which is prone to deterioration if it is not kept in conditions which provide a constant level of temperature and humidity, ideally the colder the better. Coming from a film background I am very familiar with the issues surrounding the preservation of acetate films. The challenge with acetate animation cels is that not only are we dealing with the acetate itself which is prone to vinegar syndrome, curling and folding but in addition each cel can be seen as a piece of artwork, carefully painted by hand, usually with acrylic paints. Quite often the paint will stick to the paper used to separate the cels and then we are faced with how to separate these without causing paint transfer and the loss of the image.

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The second challenge is that the preservation of acetate cels is an under researched area. Due to historic storage issues some of the cels have been folded, quite often right across the picture. Here the problem we face is how to flatten the cels out without causing the acetate to crack as acetate tears easily and can be quite brittle.

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We have actively been looking for answers to these challenges, undertaking research and seeking advice from our archive colleagues. Since so little research has been carried out in this area it is an exciting opportunity to find a way forward. Both Disney’s archives and Cinematheque Francaise have undertaken most work in this area. For more information follow the links below:

http://www.getty.edu/conservation/our_projects/science/plastics/plastics_component1.html

http://www.awn.com/blog/disney-ground-zero-and-beyond-ron-barbagallo-interview

http://www.cinematheque.fr/fr/musee-collections/actualite-collections/restauration-numerisatio/collection-dessins-anima.html

http://www.cinematheque.fr/fr/musee-collections/actualite-collections/dons-acquisitions/don-dessins-paul-grimaul.html

 

Latest catalogue entries for the Bob Godfrey collection

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You can see the latest catalogue entries for the Bob Godfrey collection here

Highlights include preliminary entries for his oscar winning film Great and popular children’s animation Henry’s Cat.  A diverse range of other subjects are covered such as misogyny and sexual humour in Biowoman and Dream Doll, envionmental issues in Dirty Rat Tales and gentle humour Alan Bennett style in And So To Bed (see my blog post about And So To Bed here).

The catalogue includes a useful glossary of animation terms. Keep a look out for further updates in the future as the catalogue grows!