Lengte 95 minuten

Ondertiteling Engels

De AMIA (Association of Moving Image Archivists) van de Universiteit van Amsterdam presenteert met A History of British Animation een diversie collectie shorts uit de 20e eeuw. De verzameling van shorts uit het archief van het Britse filminstituut (BFI National Archive) schetst een karakteristiek portret van de geschiedenis van Britse animatie.

Britse animatie is internationaal geroemd, mede door grote titels als Animal Farm en Yellow Submarine. Jez Stewart, curator van het BFI National Archive, is verantwoordelijk voor de samenstelling van het programma, dat bestaat uit korte films uit de periode 1907-1990. Het programma neemt de kijker mee door de geschiedenis van animatie als kunstvorm en als industrie. Van trick films (korte stomme films gekenmerkt door innovatieve special effects) en anti-Nazi cartoon propaganda tot psychedelische animatie uit de jaren ’60, een uitgebreid en divers programma waarvan wij durven te zeggen dat het een must-see is. De vertoning zal worden ingeleid door Jez Stewart (BFI National Archive) en gevolgd door een Q&A.




Sorcerer’s Scissors (Walter Booth, 1907)

Animated Doll and Toy Town circus (G.A. Smith, 1912)

Ever Been Had? (Dudley Buxton, 1917)

Booster Bonzo; Or, Bonzo in Gay Paree (1925)

Shadows (Joe Noble, 1928)

Fox Hunt (Hector Hoppin and Anthony Gross, 1936)

Adolf’s Busy Day (Lawrence Wright, 1940)

Do It Yourself Cartoon Kit (Biographic, 1959)

Transformer (Trickfilms, 1968)

The Ladder (George Dunning, 1967)

Mr Pascal (Alison De Vere, 1979)

Night Club (Jonathan Hodgson, 1983)

Britannia (Joanna Quinn, 1993)

Queen’s Monastery (Emma Calder, 1998)



The Association of Moving Image Archivists’ University of Amsterdam student chapter presents: A History of British Animation. A diverse collection of shorts from across the 20th century have been remastered by the BFI National Archive to give a portrait of one of Britain’s most idiosyncratic contributions to world cinema.

British animation is recognized internationally thanks to the recent success of Aardman and Peppa Pig and earlier landmark features such as Animal Farm and Yellow Submarine. This feature-length programme of shorts from 1907 to the 1990s, curated by the BFI’s Jez Stewart, traces the history of the art and the industry, offering an animated portrait of a nation. From turn-of-the-century trick films and anti-Nazi cartoon propaganda, to 1960s psychedelia and post-Thatcherite class satire, this programme isn’t one to miss.

This screening will be introduced by Animation Curator Jez Stewart of the BFI National Archive and be followed by a Q&A.



Sorcerer’s Scissors (Walter Booth, 1907) — Mixing live-action, cut-out animation, statue smashing and dancing scissors, this is one of the earliest animated films in the BFI National Archive.

Animated Doll and Toy Town circus (G.A. Smith, 1912) — Stop-motion film using toys and dolls. A female doll smokes. Circus scenes with horses and clowns.

Ever Been Had? (Dudley Buxton, 1917) — The man on the moon meets the last Englishman on Earth, in a clever mix of propaganda, science fiction and comedy, with a killer punchline.

Booster Bonzo; Or, Bonzo in Gay Paree (1925) — Britain’s answer to Felix the Cat hitches a ride to Paris, chats up a barmaid and goes a little overboard on vin rouge. 

Shadows (Joe Noble, 1928) — Sammy and his dog Sausage were a cartoon double act of the 1920s, but they co-starred with their creator — the innovative animator Joe Noble. Cleverly interacting with his pen and ink creations, in this episode Joe comes off worse in a bout of shadow boxing. 

Fox Hunt (Hector Hoppin and Anthony Gross, 1936) — A Technicolor follow-up to the modernist masterpiece Joie de Vivre (1934), travelling from the English countryside to its new suburban towns.

Adolf’s Busy Day (Lawrence Wright, 1940) — Lawrence Wright was an architect who turned his hobby into a vocation, using animation to take Herr Hitler down a peg or two in this comic propaganda cartoon.

Do It Yourself Cartoon Kit (Biographic, 1959) — An irreverent but affectionate poke at the pretensions of the industry, enlivened by the creative spirit and offbeat humour of Bob Godfrey.

Transformer (Trickfilms, 1968) — All aboard the psychedelic steam engine. Key creatives from Yellow Submarine (1968), including Heinz Edelmann, produced this stunning animation festival ident.

The Ladder (George Dunning, 1967) — This George Dunning short sees his art pared back to the barest of brushstrokes. Simple daubs of colour make up our cast of characters in a stark tale that elevates cartoon logic to a fine art.

Mr Pascal (Alison De Vere, 1979) — A spiritual tale of remarkable humanity, going beyond religion to show faith in the value of small gestures of kindness.

Night Club (Jonathan Hodgson, 1983) — A vicarious night out lived through an animated sketchbook, offering a boiling, colourful study of human behaviour laid down to a hypnotic post-punk beat.

Britannia (Joanna Quinn, 1993) — A concise, caustic history of the British Empire, which sees the British bulldog let off the leash but brought firmly to heel.

Queen’s Monastery (Emma Calder, 1998) — An acrobat returns from the military to the woman who loves him, but comes back a changed man. Her fantasies about the man he used to be puts the solider in conflict with his former self. Love and war played out to the music of Leos Janácek in a strikingly unique watercolour style.


Special thanks to AMIA and UvA for co-funding this event. AMIA is an international nonprofit association dedicated to the preservation and use of moving image media. The University of Amsterdam’s Preservation and Presentation of the Moving Image and Film Studies MA programmes contribute to this mission by educating students on issues pertaining to film heritage’s preservation and access, and the archival field at large.