Why

Wallace and Gromit have run out of cheese, and this provides an excellent excuse for the duo to take their holiday to the moon, where, as everyone knows, there is ample cheese.

Wallace rents out Gromit's former bedroom to a penguin, who takes up an interest in the techno trousers created by Wallace. However, Gromit later learns that the penguin is a wanted criminal.

Wallace's whirlwind romance with the proprietor of the local wool shop puts his head in a spin, and Gromit is framed for sheep-rustling in a fiendish criminal plot.

An mutoscope motion picture installation commissioned for the 86th anniversary of the Guggenheim museum. Later preserved and turned into a short film. Preserved by the Academy Film Archive in 2000.

An animated short consisting of 4 segments: bowl, garden, theatre, marble game. Preserved by the Academy Film Archive in partnership with Harvard Film Archive in 2015.

Krumins’ fantasy sets the world of flora and fauna on its ear. At one moment grotesque greenish mushrooms grow, wither and reverse their life-cycle, at another, strange crustacean-like animals speed around on a bed of feathers, next a room is inundated with giant ladybugs… Preserved by the Academy Film Archive in 2009.

Animated short film. Preserved by the Academy Film Archive in 2009.

Legacy takes the audience on a rapid-fire journey through the evolution of the world, starting with a cosmic bang, evolving through billions of years of plants, animals and the creation of natural resources, ending with man and his bounty – “sitting on his world contemplating his coconut”. Preserved by the Academy Film Archive in 2012.

Directed, assembled by Hy Hirsch.

A vibrant animation by Patricia Marx. Preserved by the Academy Film Archive in 2000.

Jane Conger Belson Shimane's first film, Logos, premiered in 1957 and was screened at festivals in North America, Europe, and Latin America. The animated film featured an electronic score by Henry Jacobs. Preserved by the Academy Film Archive in 2001.

"Light animation and original poetry in this initiatic journey by Dennis Pies, who is now known as Sky-David." - Daily Psychedelic. Preserved by the Academy Film Archive in 2013.

Beckett cycles through a limited number of drawings, but adds new information to each drawing every time we see it, giving the sense of a world that is infinitely rich and also obviously contained tightly within the edges of the paper. Preserved by the Academy Film Archive in partnership with iotaCenter and National Film Preservation Foundation in 2007.

In Flesh Flows we see a balance of Beckett’s keen drawing ability, in the probing erotic forms, and his technical acuity, which transforms the carnal images into a compelling, transcendent experience. Preserved by the Academy Film Archive in partnership with iotaCenter and National Film Preservation Foundation in 2007.

An instructional video that teaches, through stop-motion animation, how to build a bridge over a gorge that can hold heavy military equipment. Preserved by the Academy Film Archive in 2004.

"I think of Odalisque as my first film. It was completed after film school and I worked with just a graphite pencil, a small group of colored pencils and animation bond. It is a trilogy of amorous dreams coming from the imagination of a woman recalling her childhood, her beloved twin so difficult to separate from and becoming an adult sexual person. The aria Sempre Libera from La Triviata by Verdi opens the film and the poem Leda and the Swan by WB Yeats ends it. It was great to work with Michael Riesman who created the sound track. I loved working in NYC in those days with Robin McDaniel, Rebecca High and others." Preserved by the Academy Film Archive in 2017.

Odds & Ends is a sly comment on the collage film and Beat culture. To discarded travel and advertising footage found at a local film laboratory, Belson Shimane added a mélange of animation—assemblages, cutouts, color fields, and line drawings—and faux hipster narration by Jacobs (credited via the anagram Rheny Bojacs) punctuated by a bongo backing. Strung together with doublespeak and non sequiturs, the monologue skirts the edge of nonsense as Jacobs waxes on about poetry, jazz, “reaching the public,” “having a good time,” and—although “money doesn’t count”—the “possibility of subsidy” through grants. Footage of champagne, tropical beaches, and exotic peoples intermingle with rhythmic drawings and stop-motion flights of fancy. The visuals race on through dazzling transformations, both amplifying and undercutting the patter. —National Film Preservation Foundation. Preserved by the Academy Film Archive in partnership with Iota Center Collection in 2006.

The bizarre adventures of the cartoon character Foska, drawn by 22 animators working in collaboration. Each animator worked on his or her own sequence only and did not know what action preceded or followed his or her sequence, except that the first drawing of a sequence is the last drawing from the previous sequence. Preserved by the Academy Film Archive in 2010.

An animated comedy short from the 1920s. Preserved by the Academy Film Archive in 2008.

A symbolic reflection on issues of female sexuality, art and identity constructs.