Oscar Cartoon Download [UPDATED]

"We have a firm belief that representation matters deeply. Especially in cartoons," said the film's producer Karen Rupert Toliver as she accepted the award. "In cartoons that's when we first see our movies, that's how we shape our lives and how we see ourselves."

You might expect cartoon animal characters to be reserved for kids TV shows and movies, but both Stella McCartney and Fendi have made them protagonists in their China brand marketing, with the help of Shanghai artist Oscar Wang.

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That\u2019s a good way of looking at Moonbird. When Faith and John Hubley released it back in 1959, big studios had an even tighter grip on the Oscars. The award for short animation, introduced in \u201832, had never gone to an independent cartoon. Moonbird made it possible. In doing so, it opened the floodgates for a new wave of indie animation.

Ray remembered \u201Cplaying around on the floor and arguing and having fun\u201D in the recording studio, as John Hubley himself pretended to be the Moonbird. The audio of their free-spirited, improvised play was then cut down to fit a 10-minute cartoon. It makes for dialogue that feels immediate, like Marky and Hampy are inventing Moonbird in front of you, live. It\u2019s a deeply personal insight into the Hubley family.

Moonbird gets away from all of that. In place of the modernist shapes that had started to feel corporate, it adopts an organic, ethereal look. The Hubleys leaned on tricks they\u2019d developed for their first indie cartoon, The Adventures of *, like wax resist and loose character animation. Not to mention the key to it all \u2014 double exposure. Here\u2019s how the late Michael Sporn, who worked for the Hubleys, explained the technique:

Historian Michael Barrier cites a simple reason for Cannon and Hubley\u2019s reunion. Hubley\u2019s studio was now the one \u201Cmaking cartoons most like those Cannon had once directed\u201D at UPA \u2014 quiet, sincere films about children. Here, Faith Elliott\u2019s seismic influence is impossible to ignore. When the Hubleys married, everything that John worked on suddenly had a \u201Clyric quality,\u201D animator Shamus Culhane once wrote.

Moonbird\u2019s win marked the dawn of a new era. The next year\u2019s winner was Munro, an artful anti-war cartoon directed by Gene Deitch, another UPA alumnus. A year later, the wild Ersatz picked up the prize. Neither film was made in the United States, let alone at a major Hollywood studio. Then, the Hubleys built on Moonbird and won again with The Hole in 1962.

Every year, you can still see Moonbird\u2019s genes in the Academy\u2019s animated-short category. With films like Bao, even major players like Pixar take more from Moonbird\u2019s example than from the cartoons that preceded it. It\u2019s not just that the Hubleys legitimized \u201Cindie animation.\u201D It\u2019s that Moonbird was a cartoon by the Hubleys \u2014 no one else could have made it.

Per a survey conducted by Soyuzmultfilm and Viber, Russia\u2019s favorite cartoon character isn\u2019t Winnie-the-Pooh or even Norstein\u2019s hedgehog \u2014 it\u2019s Matroskin, the cat from Three from Prostokvashino.

The film, which begins like an old-black-and-white Disney cartoon but breaks off the screen into a 3D romp, is competing with three films produced or co-produced by the National Film Board of Canada, the only production company to place multiple films on the list. 17dc91bb1f