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The Lion, the Witch and the Wardrobe

This Emmy Award winner for Best Animated Special is based on the first book of C.S. Lewis' acclaimed series, "The Chronicles of Narnia." Four children pass through a mystic portal in a wardrobe and discover the magical kingdom of Narnia, a land of talking animals and mythical creatures. There, an evil witch's spell has cast the land into eternal winter. Fearing that an ancient prophecy is coming to fruition, and that the children are Narnia's rightful rulers, the White Witch tricks their youngest brother into betraying his family, enacting an ancient magic that she can use to halt the fulfillment of the prophecy. Now, only Aslan, noble lion and High King above all kings in Narnia, can help them defeat the witch, restore springtime to Narnia, and claim their rightful places on the throne.

The Lion, the Witch and the Wardrobe

6.8 1979
Storytime

The first story-time segment is about a cheerful cockroach named Don, who scurries throughout his mansion home, walks beneath the floorboards and does unspeakable things in the darkness of the cupboard, before being splatted by somebody's foot. The second segment is about an ordinary man named Albert Einstein ("the only Albert Einstein not to have discovered the Theory of Relativity") whose hands have a life of their own, staying out late at night, misbehaving and committing adultery with feet. The third segment – hasn't much story to it at all, and instead concerns the inhabitants of the moving pictures on an over-sized Christmas card, who interact with each other in all sorts of bizarre ways.

Storytime

6.3 1979
Designed Beings

Sequence of animations and random footage (Olympic torch lighting, rituals etc) which were "based on ideas of Hans Hollein; created for the Smithsonian's Cooper Hewitt Museum's opening exhibition: Man transForms", 1976. Nine designers worked with Hans Hollein in the "MAN TRANSFORMs" exhibition at the Cooper-Hewitt Museum of Decorative Arts and Design: Nader Ardalan, Peter Bode, Buckminster Fuller, Murray Grigor, Arata Isozaki, Richard Meier, Karl Schlamminger, Ettore Sottsass, and Oswald Ungers.

Designed Beings

NR 1976
Dick Deadeye, or Duty Done

Able Seaman Dick Deadeye is charged by Queen Victoria to find the stolen Ultimate Secret. His ugliness means that his life has always been lonely but a buxom barmaid takes a shine to him. Together, they battle pirates and an evil magician before discovering that the Ultimate Secret is nothing but LOVE! Using songs based on the original works of Gilbert and Sullivan (but updated with modern lyrics), this film was created to commemorate the centenary anniversary of the first collaboration of the composers of the Savoy Operas.

Dick Deadeye, or Duty Done

9.0 1975
The Butterfly Ball and the Grasshopper's Feast

A project assembled to musically support William Plomer's (1903-73) book of poems called 'The Butterfly Ball and Grasshoppers Feast'; in which Alan Aldridge had provided the illustrations. British Lion had secured the rights, and commissioned Glover, through Tony Edwards (the Deep Purple manager), to add the musical dimension that it required if it were to be made into a 26-part animated cartoon series, suitable for TV. (Discogs) This is the music video for the song Love Is All, performed by Ronnie James Dio.

The Butterfly Ball and the Grasshopper's Feast

3.0 1974
The Five

This highly entertaining animated film begins as a young girl settles down into bed to sleep after coming home from a party. One of her feet protrudes from under the bed cover and the toes come alive and discuss how painful they are after being cramped into ill-fitting shoes all day. The toes show in a series of flash-backs how they have been maltreated, and a dream shows how they would like to be treated - feet measured, shoes fitted and lots of time spent out of shoes and stockings.

The Five

NR 1970
The Jellyfish

The Jellyfish employs a variety of experimental approaches, combining stop-motion and pixilation techniques, freely mixing black and white photography of beach landscapes, objects and people – along with some drawings – to build a poetic, very textured montage, eliding the real and the surreal, the beautiful and the eerie, the spirited and the deadly. Figures and objects are isolated, linked together only by their presence on a beach, all exposed to direct or indirect threats. The different jellyfish are as much at threat – washing up dead, stranded in the desolate landscape – as they are a threat – appearing suddenly and making people vanish.

The Jellyfish

6.0 1973
Protect and Survive

Protect and Survive was a public information series on civil defence produced by the British government during the late 1970s and early 1980s. It was intended to inform British citizens on how to protect themselves during a nuclear attack, and consisted of a mixture of pamphlets, radio broadcasts, and public information films. The series had originally been intended for distribution only in the event of dire national emergency, but provoked such intense public interest that the pamphlets were authorised for general release.

Protect and Survive

3.0 1976
Joe and Petunia: Country Code

While on a country walk, Joe and Petunia stop for a rest and discuss their walk, with Joe throwing rocks from a wall nearby: They have left tracks all through a corn field, have released some cows through a gate Joe opened, marked "Private" and their dog is now chasing sheep in the field behind them. Just then, one of the stones Joe throws shatters a bottle, much to his delight. They then see a farmer with a purple face (which they attribute to "all that country air") and think he is doing a country dance as he jumps up and down in fury. Petunia remarks that he doesn't look friendly (to which Joe says "Can't be anything we've done"), and they leave. The farmer looks out at the trail of damage they have left, and sighs "When folk go out to the country, why oh why can't they follow The Country Code?

Joe and Petunia: Country Code

NR 1971
Football Freaks

Football crazy, football mad. Don’t watch this off-beat jukebox cartoon expecting any conventional soccer action. Equal parts Disney, Dali and Duchamp, this abstract mix of black and white photos and alternative comix style animation is accompanied by a medley of doo-wop classics and documentary soundbites. The film is certainly an extreme departure for those familiar with the more conventional output of the Halas & Batchelor studio, best known for their feature-length version of George Orwell’s Animal Farm (1954). Paul Vester was one of a number of sixties art school graduates that brought a mix of pop art and illustration influences to the company whilst it was undergoing a brief change in its ownership. As a warning, in keeping with its progressive, adult style there is some brief nudity at the end of the film.

Football Freaks

NR 1971