Personally, I rather like both; clumsy as they are, they have a certain brutal conviction. A frustrating glimpse at what could have been, hidden by a wall of headache-inducing snare drum hits. His mum was a cinema usherette, he lived the first six years of his life in Brixton which was rough as guts back then.
I imagine it was in quite a state of flux at that time, with the first wave of immigration and families like the Joneses moving out. But I think your point about his class insecurity is a great one. As is the point of his lack of formal education. If you get chance to watch the Russell Harty interview, he actually mentions his propensity to switch accents; and then proceeds unwittingly to do so within two minutes of the interview.
I totally agree that the social class issue is really important in understanding what Bowie was about. Its an interesting song for the fact its not dated and seems more relevant we here in the uk have the conservatives back in power who still have the moral majority firmly behind stopping what we see.
Outdated title yes but this sludgy, grimy tune does it for me for some reason. A very little bit. Great writing on the subject. But personally I preferred my old band The Belligerents better. The song sounds like something that was written in his sleep — an idea more interesting than the tune itself. Blog at WordPress.
Pushing Ahead of the Dame David Bowie, song by song. Video Crime Video Crime. Share this: Twitter Facebook. Like this: Like Loading May 24, at pm. Diamond Duke says:. PH says:. Momus says:. Pierce says:. MC says:. Anthony Hansen says:. May 25, at am. Marion Brent says:. Roman says:. May 25, at pm. Brendan O'Lear says:. May 26, at am.
May 26, at pm. Mike says:. Jeremy says:. May 27, at am. An accidental death provokes a quiet existential crisis among the citizens of a nameless metropolis in this beautiful exploration of urban alienation. Canadian duo Amanda Forbis and Wendy Tilby go for the textured-newsreel look by drawing directly onto photocopies; this renders a soft, grainy style quite unlike any other. A father and his young daughter cycle together across the Dutch flats, before he abruptly bids her farewell by the sea and rows off into the distance, never to return.
Yet—as the ambiguous ending suggests—time comes full circle, and death is not an ending. It opens with Daffy Duck in musketeer gear, acting out a swashbuckling scene against a fairy-tale background.
The 30 best animated short films ever made
All of a sudden the landscape inexplicably vanishes, plunging Daffy into a string of conflicts with none other than the animator himself. Over six surreal minutes Daffy is erased, redrawn, dragged through all kinds of incongruous scenery and at one point physically assaulted by the edges of the frame. Warner Bros. McLaren filmed dancers dressed in white performing against a black backdrop, then manipulated the reel with an optical printer to create trippy, almost stroboscopic visual effects. It all comes together beautifully: the stark monochrome, the fluid ballet, the illusion of infinite space, the orchestral chords that seem to go on forever… McLaren was a restless experimenter who dabbled in all kinds of techniques across his lengthy career, but never did he produce animation as moving and as graceful as this.
When he encounters obstacles, he mouths off at the animator, who quickly intervenes with his giant pencil. The film was a hit and spawned a long-running series. If you like it, there are 89 more episodes in store. Lined paper lies on a tabletop. The verse was initially supposed to be read out by a narrator, but Dunning dispensed with the voiceover in postproduction. Before he was hired to direct the trippy love-it-or-hate-it Beatles film Yellow Submarine , Dunning was a big player on the avant-garde animation scene.
Fortunately, his big-budget escapades did nothing to straighten his experimental bent. The evidence: this lovely short, too rarely seen today but groundbreaking in its time.
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The effect is mezmerising. The surrealist Czech animator avoids conventional storytelling in favor of three gloriously bonkers sketches that explore the sheer materiality of everyday objects to comic effect, whether by shaping them into fragile Arcimboldo-esque busts or substituting them for words in the mouths of monstrous clay heads. Terry Gilliam would agree, having cited it as one of his favorite animations of all time. We adopt the first-person viewpoint of a young kid who discovers that he can jump seriously high.
Beloved in his native Japan but overshadowed by Studio Ghibli elsewhere, cartoonist, animator, activist and medical doctor yes, really Osamu Tezuka is responsible for some of the most playful and innovative anime ever made.
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The political subtext is strong—without wanting to stretch the metaphor too far, the film could be seen as a comment on the social dislocation felt by many Japanese after the collapse of fascism. The cartoonish graphics, meanwhile, mask some very sophisticated experiments with perspective with no CGI to fall back on!
A mute puppet wanders through a somber, derelict building where machines are a menace and human contact is absent. The film forgoes straightforward narrative in favor of a sequence of sketches that seek to illustrate the futility of life. Theirs is an absurdist world, where humanoid puppets flail their limbs in vain, inanimate objects arbitrarily come to life, and nobody ever smiles.
Highly respected in Britain and the U. Over eight nightmarish minutes, the viewer is treated to a series of looped sketches that feature an array of eerie creatures and portentous symbolism: revolving hourglasses, clowns doing unspeakable things with their faces, Dali-esque clock-crabs scuttling across a lunar landscape.
The film teases the viewer: Is it a comment on the slippery nature of time? Dadaist experimentation in full-on mischief mode? The worst acid trip ever committed to celluloid? A mesmeric animation, which puts the mental firmly back in experimental. Scenes of Jack and Meg White strumming, drumming and cycling are interspersed with bursts of abstract color. LEGO initially refused to strike a marketing deal with the band; when they realized how popular the video had become and changed their minds, Jack reportedly told them where to shove their bricks.
A mysterious besuited protagonist turns his back on the civilized world and trades his shadow for the promise of romantic adventure. He journeys through fairy-tale castles, empty De Chirico—esque cityscapes and an Arabian desert, ever tormented by the silhouettes that surround him. For starters, the film is quite literally a tour—a trip around the world refracted through a dark fantasy lens.
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