This is a animation film by Harry Everett Smith (May 29, 1923 in Portland, Oregon – November 27, 1991 in New York City). Originally released in 1957, it was re-edited several times and the final version was released in 1962. The first part depicts the heroine's toothache consequent to the loss of a very valuable watermelon, her dentistry and transportation to heaven. Next follows an elaborate exposition of the heavenly land, in terms of Israel and Montreal. The second part depicts the return to Earth from being eaten by Max Müller on the day Edward VII dedicated the Great Sewer of London.Re-edited several times between 1957 and 1962. Sixteen millimeter, black & white, mono, initially six hours, later versions of two hours and 67 min. Extended version of Smith's No. 8. Cutout animation culled from 19th-century catalogs meant to be shown using custom-made projectors fit out with color filters (gels, wheels, etc.) and masking hand-painted glass slides to alter the projected image. Jonas Mekas gave the film—which is often regarded as Smith's major work—its title in 1964–65.
Wednesday, November 30, 2016
Heaven and Earth Magic (1962) Full Film
This is a animation film by Harry Everett Smith (May 29, 1923 in Portland, Oregon – November 27, 1991 in New York City). Originally released in 1957, it was re-edited several times and the final version was released in 1962. The first part depicts the heroine's toothache consequent to the loss of a very valuable watermelon, her dentistry and transportation to heaven. Next follows an elaborate exposition of the heavenly land, in terms of Israel and Montreal. The second part depicts the return to Earth from being eaten by Max Müller on the day Edward VII dedicated the Great Sewer of London.Re-edited several times between 1957 and 1962. Sixteen millimeter, black & white, mono, initially six hours, later versions of two hours and 67 min. Extended version of Smith's No. 8. Cutout animation culled from 19th-century catalogs meant to be shown using custom-made projectors fit out with color filters (gels, wheels, etc.) and masking hand-painted glass slides to alter the projected image. Jonas Mekas gave the film—which is often regarded as Smith's major work—its title in 1964–65.
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