Fantasy/Animation

Gremlins (1984) (with Catherine Lester)

Mogwai and monsters after midnight are the focus of Episode 88, as Chris and Alex take a closer look at the part-horror, part-Christmas feature Gremlins (Joe Dante, 1984) with special guest Dr Catherine Lester, Lecturer in Film and Television in the Department of Film and Creative Writing at the University of Birmingham. Catherine’s work focuses largely on the intersections between children’s culture and the horror genre, and she is the author of Horror Films for Children: Fear and Pleasure in American Cinema (Bloomsbury, 2021), and several articles on popular animation and children’s horror cinema. She is also currently putting together an edited collection on the controversial animated film Watership Down (Martin Rosen, 1978), based on the The Legacy of Watership Down: Animals, Adaptation, Animation conference held in 2018. Topics for this episode include the fuzziness of children’s horror as a critical category, and how the genre itself has traditionally understood the role and presence of the child figure; the industrial impact of Gremlins within North American cinema and the subsequent introduction of the new PG-13 rating; the implications of horror, fear and monstrosity for theorising the child spectator; the materiality of the film’s animatronic effects and how this connects to a 1980s context of consumerism and merchandising; the citational practices made by director Joe Dante and screenwriter Chris Columbus towards popular Hollywood film history (particularly its reference to Disney’s Snow White and the Seven Dwarfs and evocations of film noir); animation’s potential role in exaggerating, diluting and modulating horrific content; and what Gremlins might have to say about the suitability of horror’s dominant tropes when presented to - and (re)framed for - children.

**Fantasy/Animation theme tune composed by Francisca Araujo**

Chinese Animation and the Shanghai Animation Film Studio (1956-1988) (with Yuanyuan Chen)

For Episode 87, Chris and Alex are joined by special guest Dr Yuanyuan Chen, who teaches animation history and theory at Ulster University, for this brief introduction to Chinese animation and the work of the pioneering Shanghai Animation Film Studio. From propagandist impulses and opera traditions to Chinese state politics and painterly aesthetic styles, the complex history of Chinese animation and its more recent iterations are reflected in this cross-section of contemporary examples, which all serve to highlight the creativity of the Shanghai Animation Film Studio and its influential filmmakers. Listen as the trio discuss The Conceited General (Te Wei & Li Keruo, 1956), a colourful yet damning treatment of leadership and pomposity; the comedic Three Monks (A Da, 1980) based on a Chinese proverb, and an early short within China’s rebirth following the Cultural Revolution of the 1960s and 1970s; A Deer of Nine Colours (Qian Jiajun & Dai Tielang, 1981), another adaptation, this time based on the Buddhist Jataka tale and replete with optical effects that communicates the spirituality of nature; the modernist simplicity and biting satire of modern China in Super Soap (A Da, 1986) and The New Doorbell (A Da, 1986) with their shared narrative of the dangers of ‘supply and demand’; and the lyrical Feeling from Mountain and Water (Te Wei, 1988), whose ink wash and shan shui style is the perfect accompaniment to its story of two travellers and their close master/student relationship.

The Secret of NIMH (1982)

The result of our latest social media poll charting listeners’ favourite Don Bluth animated film yields the focus of Episode 86, where Chris and Alex uncover The Secret of NIMH (Don Bluth, 1982), the filmmaker’s very first animated feature and one that would set the template for his tone and style to follow. Following up their recent episode on The Land Before Time (Don Bluth, 1988), listen as they sit down to discuss the mechanical vs. the magical in the way Bluth constructs his detailed animated world; the metonymic representation of humanity and questions of scale; the film’s reflexive treatment of anthropomorphic (even therianthropic) characters by folding the nature/culture divide common to anthropomorphs into its narrative of animal testing and experimentation; gender and motherhood in the film’s portrayal of heroine Mrs. Brisby; the industrial and aesthetic hybridity of Bluth as a filmmaker caught between established animated traditions and formulae; connections between The Secret of NIMH and High Fantasy filmmaking of the period (including the work of counter-cultural animator Ralph Bakshi); and Bluth’s seismic impact on Disney animation and his influence on the studio’s subsequent shift in narrative during its ‘dark ages’ of the 1980s.

Lovecraft Country (2020) (with Bambi Haggins)

Episode 85 discusses the recent HBO horror television series Lovecraft Country (2020), developed by Misha Green as a continuation of Matt Ruff’s 2016 novel, and places the story of 1950s racial segregation in the United States on a collision course with the science-fiction world of H.P. Lovecraft. Joining Chris and Alex for this latest episode is Dr Bambi Haggins, Associate Professor in the Department of Film and Media Studies at UC Irvine whose work explores race, class, gender and sexuality in American comedy across media and television history. She is also the author of Laughing Mad: The Black Comic Persona in Post-Soul America (2007), while her current book project, Still Laughing, Still Black examines how Black comedy, culture and reception in the new millennium reflect, refract and reveal the necessity and the power of Black comic discourse and survival laughter since 2008. Listen as the trio discuss structuring relationships within Lovecraft Country between identity, race and imagination; the stakes of the programme’s application and reworking of ‘Lovecraftian’ imagery within an oppressive Jim Crow setting; discourses of reconstruction and restoration within both digital VFX post-production work and post-Civil War America; the (re)centring of blackness and the ambivalent power of whiteness as it manifests across the series’ performances; the CGI Cthulu creatures (Shoggoths) that are central to the programme’s allegorical treatment of Black survival and fear; and how Lovecraft Country uses generic hybridity and the threat of fantasy to engage with a narrative of a racial reckoning.

Shrek 2 (2004) (with Sam Summers)

Episode 84 takes a trip for the first time to the computer-animated efforts of the DreamWorks Animation studio, often viewed as Disney and Pixar’s commercial rival but whose features frequently offer a biting satirical revision of the narrative and stylistic formulae of these renowned animation heavyweights. For this latest episode on Shrek 2 (Andrew Adamson, Kelly Asbury & Conrad Vernon, 2004), Chris and Alex’s special guest is Dr Sam Summers, Associate Lecturer at Middlesex University and author of the recent DreamWorks Animation: Intertextuality and Aesthetics in Shrek and Beyond (London: Palgrave Macmillan, 2020). Sam is also the co-editor of a collection Toy Story: How Pixar Reinvented the Animated Feature (London: Bloomsbury, 2018) and - alongside journalist Ben Travis - co-host of the Disniversity podcast that offers a crash course through the history of Disney's animated classics. Listen as they discuss Shrek 2 and its industrial and aesthetic place within DreamWorks’ animated canon, and its relationship to Hollywood’s computer-animated film landscape more broadly; star voices and ‘presentational’ performances that contribute to the film’s layering of intrusive anachronism; the combination of medieval fairytale fantasy tropes with California culture; tensions between Shrek 2’s anti-Disney sentiment and the franchising of the Shrek myth; commercial positioning and the role of Shrek 2 in consolidating DreamWorks as a ‘punky’ alternative to the tone and style of the Mouse House; Disney’s timelessness vs. the ‘timeliness’ of DreamWorks when it comes to pop culture satire; and how through the Fairy Godmother, Shrek 2 negotiates (and then weaponises) the happy ending structure common to the fairytale form.

By the Time It Gets Dark (2016) (with Felicity Gee)

Episode 83 sees Chris and Alex trace the magical realist threads and overlapping timelines that build Anocha Suwichakornpong’s often confounding drama By the Time It Gets Dark (2016) (known in Thai as Dao Khanong), replete with its shifting realities, fleeting digital VFX and a pivotal citation of the ‘father of fantasy’ (as well as one of cinema’s first animators) Georges Méliès. Joining them to discuss Suwichakornpong’s mesmerising, kaleidoscopic, and highly original second feature film that dramatises the events of the 1976 Thammasat University massacre is Dr Felicity Gee, Senior Lecturer in Modernism and World Cinema at the University of Exeter, and author of the recent Magic Realism, World Cinema and the Avant-Garde (London: Routledge 2021). Listen as they discuss the film’s ‘magical realist’ identity and the term’s vexed relationship to surrealism, (Low) fantasy storytelling and animation; the possible connections between fantasy narratives and world cinema; imagination, image-making and illusion from Méliès to Chris Marker; the reflexive staging of history and how Suwichakornpong crafts a collage effect that evokes the slipperiness of experience and memory; cinema’s capacity to spin an eternal present, and the stakes of the film’s own temporal confusion; and the politics of glitch art, and how By the Time It Gets Dark offers spectators an affective assault on both narrative and image that mirrors the violence and brutality of its historical subject matter.

The Land Before Time (1988) (with Mark Witton)

The spectacular animated world of U.S. filmmaker Don Bluth is the focus of Episode 82, with Chris and Alex journeying to the Great Valley for this discussion of The Land Before Time (Don Bluth, 1988). Joining them is Dr Mark Witton, vertebrate palaeontologist and palaeoartist (based at the University of Portsmouth), who is best known for his scientific research and illustrations around the habits and behaviors of pterosaurs, as well as his consultancy work with museums and on the BBC television series Walking with Dinosaurs (1999) and Planet Dinosaur (2011). Listen as they discuss the importance of Bluth to the landscape of 1980s animation, including his work as a stylistic and ideological forbearer to the Disney Renaissance; The Land Before Time as a collision between mid-/late-twentieth century dinosaur science; the long history of ‘marketing’ dinosaurs that first began in the 1850s within a number of cultural institution and museum exhibits (especially in London and, later, across the U.S.); the storytelling structures and segmentation of the film’s framing journey narrative; Bluth’s tone and characterisation of the dinosaurs that falls back on the physicality and physiology of modern dinosaur images, including discourses of ‘monsterisation’ that have marked several media depictions; the problems of animating science and the artists’ creative latitude in constructing dinosaur performances; and why so many filmmakers across animation history have been continually drawn to the figure of the dinosaur as a creature of fascination.

Sub-Saharan African Animation (1966-2013) (with Paula Callus)

Episode 81 of the podcast provides an introductory survey of Sub-Saharan African animation, as Chris and Alex plot a pathway through a cross-section of animated fantasies covering a multitude of forms, styles and modes from a number of African countries and territories. Joining them is Dr Paula Callus, Associate Professor in Computer Animation at Bournemouth University and an expert in Sub-Saharan African animation, who has also worked as a consultant and educator on the UNESCO Africa Animated projects in Kenya and South Africa, and who has been involved in projects looking at marginalization and the use of digital technologies (with a focus upon Arts, Activism and Marginalization in Nairobi). Listen as they discuss Moustapha Alassane’s Bon Voyage Sim (1966), the earliest short animation from West Africa with a highly political (and amphibious) comic narrative; the quasi-animated documentary Ng’endo Mukii’s Yellow Fever (2013) that interrogates the implications of skin and race via the theme of hair braiding; Iwa (2009) from Nigerian filmmaker, illustrator and art director Kenneth (Shofela) Coker based on West African ‘tree of life’ myths; the colourful British/Kenyan animated television series Tinga Tinga Tales (2010-2012) based on African folktales and featuring both English and Swahili languages; and the science-fiction allegory Pumzi (2009) from writer and director Wanuri Kahiu. Topics include the cultural and historical specificity of fantasy storytelling and the mapping and remapping of folklore across national borders; animation as itself a medium wrought with competing ‘contexts’ shaping modes of production and reception; core/periphery models of understanding global animation practices and their diversity of visual cultures and heritages; post-colonial legacies and how questions of pastness guide how African animation has been culturally and critically understood; Afrofuturism, Afropessimism and animation’s aesthetics of despair; and how fantasy and animation are systematic tools for the subjective on account of their shared ‘immateriality’.

The Golden Voyage of Sinbad (1973)

Chris and Alex return once more to the pioneering work of stop-motion animator and effects artist Ray Harryhausen, this time looking at his 1973 fantasy film collaboration with director Gordon Hessler, The Golden Voyage of Sinbad. For Episode 80, the focus is on the quasi-parasitic relationship between live-action and animation filmmaking, and the spectatorial fantasy engendered and invited by each form of moving image technology. Topics include psychoanalytic film theory and the ‘internal object’; the ontological integration of Harryhausen’s ‘Dynarama’ effects with the fantasy of location shooting; animation discourse and the problem of essentialist understandings of medium specificity; The Golden Voyage of Sinbad’s orientalist imaginary and problematic constructions of race; the materiality of stop-motion, and the ‘weighty’ qualities to the film’s army of mythical homunculi; and the big-screen trend of casting ‘animators’ as villains in their control and manipulation of suddenly sentient fictional worlds.

Bagpuss (1974) (with Chris Pallant)

Episode 79 marks a special edition of the podcast, recorded back in February 2021 as part of the virtual Fantasy/Animation @ Canterbury Anifest event where Chris and Alex curated a series of podcasts, themed blog posts, a roundtable on the topic of diversity and inclusion (returning to the Anti-Racist Syllabus) and a live Q&A, as well as premiering a brand new Fantasy/Animation podcast episode released exclusively for festival attendees. This Anifest special tackles Bagpuss (1974) the 13-episode stop-motion television series from the celebrated Kent-based Smallfilms studio. Joining Chris and Alex to talk through his ongoing research into both Smallfilms and its founders Peter Firmin and Oliver Postgate is Festival Director of the Canterbury Anifest Dr Chris Pallant, who is also a Reader in Film Studies at Canterbury Christ Church University and President of the Society for Animation Studies. Chris has published widely across film and media studies, including his monograph Demystifying Disney: A History of Disney Feature Animation (Bloomsbury, 2011), and collections Storyboarding: A Critical History (Palgrave, 2015), Animated Landscapes: History, Form and Function (Bloomsbury, 2015) and Snow White and the Seven Dwarfs: New Perspectives on Production, Reception, Legacy (2021). In this episode, Chris gives us a rundown of his favourite Top 5 Bagpuss episodes, with other topics including the modular structure of the series and its bricolage of storytelling and comic effects; the pleasures of ‘objectness’ vs. anthropomorphic representation; Bagpuss’ particular kind of character expressivity, pose and movement; fantasy rhetoric and the image of the ‘storyteller’; the vocal performances (and musical designs) of folk singing duo Sandra Kerr and John Faulkner; the seduction of the animation archive and locating lost production materials; how to tell animation history, and what gets include/omitted from industrial narratives; and the status of Bagpuss as a signature Smallfilms property, including the role of a saggy old cloth cat in shaping histories of this small but influential animation studio.