Circles

Early 'visual music' film by John Whitney. Preserved by the Academy Film Archive in 1999.

Bambi is nibbling the grass, unaware of the upcoming encounter with Godzilla. Who will win when they finally meet? Preserved by the Academy Film Archive in 2009.

An animation (long before there were such things) for Oscar Brown Jr’s track “But I Was Cool”, from his 1961 debut album Sin & Soul. Preserved by the Academy Film Archive in 2012.

A classic tale retold with Harryhausen's trademark animation. Preserved by the Academy Film Archive in 2004.

Stop-motion puppetry version of the classic fairy tale. Preserved by the Academy Film Archive in 2004.

A compilation of four Mother Goose stories "photographed in three-dimensional animation" and unified by a prologue and an epilogue with Mother Goose herself magically setting up a projector to show the films. The familiar nursery rhymes are "Little Miss Muffet," "Old Mother Hubbard," "The Queen of Hearts," and "Humpty Dumpty." Preserved by the Academy Film Archive in 2004.

The story of a starving third-world infant, set to a song by Harry Chapin. Preserved by the Academy Film Archive in 2015.

Mountain Music illustrates what happens when technology gets too advanced too soon. Preserved by the Academy Film Archive in 2012.

A walking figure emerges from a changing, circular cycle; his inner self emerges and precipitats a series of violent struggles with himself, adapting various animal forms along the way. Preserved by the Academy Film Archive.

"Marlborough" and "The Arab", lounging on the pool terrace, are alienated characters in some future time, living in a world where art work comes to life, phones continuously ring, televisions hum all night, and smog seeps into their brains. Preserved by the Academy Film Archive.

On Christmas Eve, a lonely young boy, shut out from the shiny world of presents and holiday parties, peers into a candlelit window, where a gray-haired lady sits sadly at a bare table. Taking the last bit of bread and cheese from his pocket and adding wine, they share this meager Christmas dinner together. Preserved by the Academy Film Archive in 2012.

An animated parody of television commercials and the television audience. Preserved by the Academy Film Archive.

Two short fragments resulting from experiments in controlling the mechanical development of the instrument. Preserved by the Academy Film Archive in 2005.

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. Preserved by the Academy Film Archive.

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

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.

Garry Trudeau's classic characters (Mike Doonesbury, Zonker, etc.) examine how their lifestyles, priorities, and concerns have changed since the end of their idealistic college days in the 1960s. Preserved by the Academy Film Archive in 2012.

The film is based on a poem by James Weldon Johnson depicting the power of the southern black American preacher's telling of the biblical creation story.

The first Studies were synchronized with records (Fischinger made a total of 13 Studies all without sound). It was only with the introduction of sound, beginning with Study No 6 that the films did full justice to this musical principle. The play of the white lines, the arcs, and the upside-down U’s running hither and thither like ballet dancers was brought into perfect synchronization with the music, and thus the films offered an abstract illustration of the melodies. Study No 6 is certainly the best of his films in terms of forms. - Hans Scheugl and Ernst Schmidt, Jr. Preserved by the Academy Film Archive in 2001.

Begins with a three beat announcement drawn out in time which thereafter serves as a figure to divide the four sections. Each return of this figure is more condensed, and finally used in reverse to conclude the film. Preserved by the Academy Film Archive in 2004.