Submarine cartoon 80s series#

Jean Image (Imre Hajdú) also chose Paris, whose strikingly international animation scene influenced a great many artists.

It joins art nouveau with Alice in Wonderland in a visual feast one can perhaps be forgiven for devouring. Gobble-Gobble is a much more densely, even gorgeously drawn rendition of the beautiful universe people have created but insist on destroying. Both films document the progressive destruction of bodily appetites without limits and its effects on the world. Its surreal gluttony is strikingly similar, yet visually distinctive from István Bányai’s Gobble-Gobble (1977), produced in Budapest. Foldes eventually moved to Paris where he made a number of films, including Hunger (1973)-notable as an early computer animation-which details a man’s excessive greed with black and white drawings that ingeniously morph against brightly colored backgrounds. The film blooms from limited animation into action with the explosion of a nuclear bomb, deforming faces into flesh and bone and molecular chaos. The film achieved some notoriety when it was widely viewed on The Ed Sullivan Show but proved to be popular with audiences. On his own he made the experimental A Short Vision (1956), funded by the BFI. Peter Foldes (Péter Mihály Földes) was another Hungarian émigré who worked with Halas in 1946.

Submarine cartoon 80s series#

Perhaps their most famous achievement was a masterful adaptation of George Orwell’s Animal Farm (1954), but they directed and produced many memorable gems, including Magic Canvas (1948), History of Film (1957), the Snip and Snap series (1960), Automania 2000 (1963), The Five (1970), and Autobahn (1979). Their studio became the most significant in Britain with a variety of productions extending from experimental to commercial and educational to entertaining, a truly remarkable range of work. During the war they created numerous shorts for the War Office and Ministry of Information and Defence, including the inventive and humorous Dustbin Parade (1941) and Blitz on Bugs (1944). By 1936 he was permanently settled in London and founded the Halas and Batchelor studio in 1940 with his wife and animator Joy Batchelor. One such was Britain, where John Halas (János Halász) was invited to set up a studio after founding Coloriton in Budapest with Gyula Macskássy.

This diaspora became highly influential for the development of animation in a number of countries. After the collapse of the Austro-Hungarian Empire and throughout the turbulent interwar and war years, many Hungarian animators emigrated elsewhere.