“Contemporary, or ‘New Age' animation by independent artists has provided one of the most energetic and refreshing movements in non-commercial cinema of the last decade. Though predictably working mostly in New York and California, the filmmakers come from in and out of school, scattered origins of birth and backgrounds, and relationships to professional practice ranging from the cozy to the remote. The Eighties are ushering in fresh talent and maturing masters, affirming personal animation as a living art form.” --Anthony Reveaux.
Interview
Caroline Leaf's distinguished work for the National Film Board of Canada has become internationally known. Here, she and Veronica Soul take the aesthetic risks of creating an intimate portrait of a friendship through the exploration of narrative and graphic spaces in live action and animation.
• By Caroline Leaf and Veronica Soul. (1979, 14 mins, color, Print from Serious Business)

Interior Designs
By the maker of In Plain Sight, Aaron's technique has become deeper, surer, and more evocative.
• By Jane Aaron. (1980, 5 mins, color, Print from Picture Start)

Inside Outside
The transformational, graphic metamorphoses of ideational form are unleashed, unrestrained by limits of the organic or inorganic.
• By Howard Danelowitz. (1980, 4 mins, color, Print from Picture Start)

Impasse
The author of the Academy Award-winning Frankfilm sets himself the task of choreographing a graphically rhythmic, Palladian order to the vast variety of Avery stick-on labels as modular material.
• By Frank Mouris. (1978, 10 mins, color, Print from Phoenix Films)

TZ
Working since the early Fifties, “Breer's films are animated from several thousand drawings that he makes over a considerable span of time - generally one to two years. He works on 3” x 5” unruled white index cards, over a lightbox, with ‘unrefined' artist's materials - craypas, enamel spray paint, magic markers, collage materials. This generating of cards for a specific film is on-and-off a part of his daily life, and he can pick it up wherever he is.” --Sandy Moore
• By Robert Breer. (1978, 8-1/2 mins, color, Print from Serious Business)

Emergence of Eunice
From one of the daughters of animators John and Faith Hubley arises an unexpectedly frank and unsentimental expression of young womanhood.
• By Emily Hubley. (1980, 6 mins, color, Print from Serious Business)

Deep in Wood
French animator Lerazer renders sepia drawings of moving trees in an empty frame. Grotesque and erotic encounters are sexual or violent or trail away without resolution. The creatures make no sound, but their jerky movements contribute to the edgy mood.
• By Alain Lerazer. (1981, 5 mins, color, Print from Serious Business)

Two Space
The computer is used to generate elegant, graceful two-dimensional patterns through a set of symmetry operations upon a basic figure, like the tiles of Islamic temples. The music of a Javanese gamelan reinforces the exquisite illusions of reversals and afterimages of color.
• By Larry Cuba. (1978, 8 mins, color, Print from Picture Start)

Quasi's Cabaret
As a measure of the progress of recent personal animation, Cruikshank's cartoon characters - a fusion of classic Looney Tunes and new deco style - are now appealing to you to appear in a full-length feature film!
• By Sally Cruikshank. (1981, 3-1/2 mins, color, Print from filmmaker)

Wizard of Speed and Time
A dizzying tour-de-force of stop-motion and pixillation, Jitlov flashes through an awe-struck Los Angeles faster than a speeding chutzpah to fame and fortune.
• By Mike Jitlov. (1980, 3 mins, color, Print from Pyramid Films)
Entire program runs 67 mins.