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<rdf:Description rdf:about="http://archives.ucreative.ac.uk/CalmView/record/catalog/DA" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:dc="http://purl.org/dc/elements/1.1/">
  <dc:title>Dick Arnall Animation Archive</dc:title>
  <dc:description>The material consists of 33 boxes containing the histories of artist-made animations in the UK and Europe from the early 1960s to the late 2000s. 
 
The collection includes material from significant artist-focused animation events and organisations such as the Cambridge Animation Festival, Formations programming for Channel 4, and the Arts Council England/Channel 4 Animate! scheme (1990-2009).

It consists of video, photographs, production agreements, correspondence, finance, festival programs and magazines. 

The amount of Cambridge Animation Festival information is particularly predominant, as Arnall was a founder. It also contains documentation from European animation and short film festivals. 

Dick Arnall (1944-2007) was an influential animation producer who ran the UK's most innovative and productive Finetake film company that, with Channel Four, generated the 80-90s 'renaissance' of UK animation internationally. 

His archive contains a wealth of materials, documentation and artwork with film-political and international experimental/animation filmcontexts, intellectual manifestos, rare old publications and also includes the unwritten history of the origins of the Cambridge Animation Festival. This archive overlaps historically and compliments the Bob Godfrey archive. Many of the filmmakers represented were students or former employees of Bob Godfrey at some stage of their career and some now hold key positions at the NFTS, RCA and leading animation degrees or are at the forefront of global animation companies such as Aardman, which only underlines Dick Arnall’s role in British Animation history. With his famous ‘Death to Animation’ article, Dick Arnall also contributed to the paradigm shift demonstrated in the British animations of this period. Rather than a traditional view of animation as mainstream cartoon entertainment for children, Arnall argued for a new form of animation exploring material, temporal and structural issues through a serious, adult form of artists’‘manipulated moving image’.


</dc:description>
  <dc:date>1990-2009</dc:date>
</rdf:Description>