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Animated.

First: our reviews of "Roll Bounce" (Roller. Disco. 'nuf said.) and "Daltry Calhoun" (to be avoided) are here. In appropriate pairing, Stephen Dalton in the London Times writes about how audiences seem to be turning back to traditional cell and other low-tech animation just as Laura M. Holson in the New York Times reports on the recent closing of Disney revered traditional animation department. Dalton: William Higham, who runs the forecasting agency Next Big Thing, relates this new lo-fi mood to the popularity of neo-traditional designers such as Kath Kidson and the resurgence in painting over conceptual Brit Art. We are now, Higham argues, in a "post-bling" culture that prizes homespun honesty over airbrushed perfection. "If you eat too much comfort food, there comes a time when you want something healthy," says Higham. "We are in the middle of an emotional, moral and cultural detox." Carola Long at the London...

Victor Quartermaine (voiced by Ralph Fiennes)First: our reviews of "Roll Bounce" (Roller. Disco. ‘nuf said.) and "Daltry Calhoun" (to be avoided) are here.

In appropriate pairing, Stephen Dalton in the London Times writes about how audiences seem to be turning back to traditional cell and other low-tech animation just as Laura M. Holson in the New York Times reports on the recent closing of Disney revered traditional animation department. Dalton:

William Higham, who runs the forecasting agency Next Big Thing, relates this new lo-fi mood to the popularity of neo-traditional designers such as Kath Kidson and the resurgence in painting over conceptual Brit Art.

We are now, Higham argues, in a "post-bling" culture that prizes homespun honesty over airbrushed perfection. "If you eat too much comfort food, there comes a time when you want something healthy," says Higham. "We are in the middle of an emotional, moral and cultural detox."

Carola Long at the London Times paid a visit to the set of "The Corpse Bride" ("stop-motion has a visceral quality that you just don’t get with CGI"), while at the same paper Dominic Wells looks at another big stop-motion feature: "Wallace & Gromit: The Curse of the Were-Rabbit," talking to producer Dave Sproxton, who mentions that despite Aardman Studios’ fondness for stop-motion, most of their advertising work and their next feature, "Flushed Away," will be CGI. Robin McKie at the Observer profiles director Nick Park:

Park claims to have created a new film genre, ‘vegetarian Hammer Horror’, though most critics say it is more like an Ealing comedy made in Plasticene. Certainly, his work is quintessentially English, gentle and cosy, never brash or garish. Not surprisingly, the gulf between the world of Preston’s Prince of Putty and the financial expectations of Jeffrey Katzenberg, head of DreamWorks Animation – which is bankrolling "The Curse of the Were-Rabbit" – has created tensions. (Park refuses to say how much DreamWorks invested but dismisses media estimates of £30 million as far too low.)

Stuart Jeffries at the Guardian interviews Park, focuses on the pluses and minuses of getting those Hollywood dollars.

+ Summer’s End: "Roll Bounce" and "Daltry Calhoun" (IFC News)
+ You spent how much on CGI?! (London Times)
+ Disney Moves Away From Hand-Drawn Animation (NY Times)
+ A weird wedding invitation (London Times)
+ Feats of clay (London Times)
+ A dog’s life (Observer)
+ Lock up your vegetables! (Guardian)




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