Gerald McBoing-Boing, the boy who speaks through sound effects

Gerald McBoing-Boing (1950) is an animated short film about a boy, Gerald McCloy, who speaks through sound effects. The film is based on an audio story by Dr. Seuss originally published as a record for children.

The film was created for cinemas, moving away from the realistic animation style popularised by Walt Disney. The main concept was that cartoons don’t have to obey the rules of the real world. This, besides being original, reduced costs, because they didn’t need realistic drawings, but something more creative and expressive.

The animation studio behind Gerald McBoing-Boing was United Productions of America (UPA). The UPA had been founded after a strike by Disney workers in 1941. During its years of existence, which spanned the 1940s to the 1970s, its biggest success was Mr. Magoo.

As I said before, Gerald McBoing-Boing’s plot focuses on Gerald McCloy, a 2-year-old boy that, when he begins to speak, uses sound effects rather than words. The first thing that comes out of his mouth is “boing boing”, the sound of a spring bouncing.

Doctors can’t find a solution, and the other children make fun of him, leading his family to despair. Then a radio talent scout discovers Gerald and hires him as a foley artist—the person who creates sound effects for film and radio.

The short was so successful, even winning an Oscar, that the UPA produced three sequels. Years later, in 2005, Cartoon Network launched a cartoon TV show based on the same characters. In this show, Gerald still speaks through sound effects, but he has two friends that use standard words.

Some notes about the production

Gerald McBoing-Boing’s creator, Bobe Cannon, and its designer, Bill Hurtz, wanted to create a minimalist cartoon with little dialogue. For the original film, first, they sketched the actions. Then, they composed the soundtrack and they animated all the actions using the sound as a guide. Finally, they added flat and flashy colours.

The style is far from the realism of other cartoons of the time. The backgrounds have only a few lines, some of them are almost abstract. These drawings are influenced by modern painters like Picasso and Matisse. The composition uses forced perspectives and extreme angles, achieving striking shots reminiscent of German expressionist cinema.

Cannon had started his career working with well-known characters, such as Bugs Bunny and Daffy Duck. He was one of the founders of the UPA and vice president of the studio from 1949 to 1957, a job that he combined with collaborations with Disney and Tex Avery.

Cannon loved ballet and he saw cartoons as a form of dance. When he designed his films, he thought of animation as if it were choreography. Maybe that’s where the idea of creating a character who expresses himself through sounds, rather than words, came from.

Which was the first flicker film?

My favourite film genre is the flicker film. In case you’re not very familiar with experimental film, a flicker film is a film with fast changes between light and dark frames. That creates a strobing effect.

If you need something more visual to understand what I’m talking about, this is Arnulf Rainer (1960) by Peter Kubelka, my favourite flicker film.

I’ve read a lot of times that Arnulf Rainer was the first flicker film, but that’s not true. I believed it for some time because that’s what most books say, but years ago I discovered Color Sequence (1943) by Dwinell Grant.

Some parts of Color Sequence are too slow to be considered a flicker, but other parts are definitely flickering. Anyway, this isn’t the first flicker film either.

The first flicker film, at least that I know of, is An Expression by Shigeji Ogino (you can watch the film on the link).

Shigeji Ogino was a Japanese filmmaker who started making movies in the 1920s. His filmography is really diverse. He made home movies, travel diaries, animation, and experimental films.

An Expression is a 4-minute long silent film. It’s an abstract film, we only see shapes. However, it’s also a narrative film. Ogino tells the story of a meeting between a man from the city—the triangle—and a woman from the countryside—the circle.

Ogino shot the film in black and white using alternating red and green filters. One frame is red and the next is green (complementary colours), which generates entoptic phenomena. Entoptic phenomena are images whose source is within the eyes themselves. This means that sometimes you see colours, spots, shapes, etc. that are not really in the film.

I love doing research, so maybe one day I’ll find an oldest flicker film, or maybe someone will talk me about another one. Who knows…

November Film (complete)

*WARNING: This film contains flashing images.*

*Some of the frequencies are quite low, so I recommend you to watch the film with headphones, but be careful with the sound volume.*

This film is the result of a 30 days challenge. It was originally published on a daily basis on Twitter—one-minute video per day from November 1 to 30 (2017). The sound was made in Audacity using tone and noise generators. Images are the audio files themselves saved as JPG, so what you see is what you hear.

You can find the original 30 one-minute films at my Twitter account: @null66913

November Film

November Film 06

This is what I’ve been doing lately. You can watch all my November one-minute films in this Twitter thread. All the films are similar, just tones and noise. I generate the frames using data bending techniques, so a bit of noise and a bit of glitch…

This is not Cinema, 20 de julio en Barcelona

This is not Cinema

Este jueves día 20 de julio en Crater-Lab, This is not Cinema, una sesión con algunas de mis películas experimentales, abstractas o la etiqueta que más os guste ponerle a este tipo de cine.

La entrada cuesta solo 5 euros e incluye una consumición. La sesión dura más o menos una hora, pero seguramente hablaremos un poquito y demás, así que quizá se alargue a hora y media o lo que dé de sí la charla…

Algunas películas son found footage, otras animación abstracta y otras experimentos que podrían entrar en varios géneros distintos. Un poco de psicogeografía, un poco de data bending, un poco de motion graphics y mucho flicker.

¡Os espero!

iotaSalon, LA (03/23/2017): The Best of Punto y Raya Festival

RGB Colour Model at iotaSalon, LA.

One of my flicker animation pieces (RGB Colour Model) will be screened next week in LA as part of “The Best of Punto y Raya” program. Lots of great stuff, if you’re in LA, don’t miss it! Thursday, March 23, 8PM.

“We are excited to announce the next installment of our ongoing iotaSalon series, a selection of beautiful and provocative works from the Punto y Raya Festival 2016 to screen at the Echo Park Film Center on Thursday, March 23. Punto y Raya has been dubbed ‘the most abstract film festival in the world’ by the Japanese press. Based in Barcelona, Spain, the festival criss-crosses the globe with each year’s award-winning films, representing the best of contemporary abstract film. The 85-minute Best-Of program showcases experimental narrative expressions using pure form, color, motion, and sound, avoiding direct representation and bringing people together with imagery that is current, universal and timeless.”

More information

Cyberpunk moments where I live. Just warming you up.

Blade Runner cyberpunk GIF tears

Blade Runner (1982)

All those cyberpunk moments where I live. Just warming you up. Walking alone. Walking alone when all of a sudden you look down. Doesn’t make any difference. Maybe you wanna be by yourself. I understand what you mean.

You reach down. It’s a test designed to provoke an emotional response. A new life awaits you in the Off-world. Custom-tailored, genetically engineered humanoid. Climb and maintain. Over the landing threshold.

Sit down, cyberpunk.

Blade Runner cyberpunk GIF sit down

Walking the streets. Stop right where you are. Reaction time is a factor where I live. Three nights ago they tried to break through an electrical field crawling towards you on intergalactic runs. Incept date: 2016. Optimum self-sufficiency.

A basic pleasure model in the outer colonies to copy human beings. Fail-safe device. Go put the machine on it. Fluctuation of the pupil. Involuntary dilation of the iris. Just relax.

Plus the killing cyberpunk.

Blade Runner cyberpunk GIF smoking

I’d take him to the television. I’d kill it. He likes it so much he hangs it on your bedroom wall. A banquet is in progress. Commerce is our goal here. An experiment, nothing more. A strange obsession.

emotionally
inexperienced

Watched – June 2016

Cosa avete fatto a Solange? (1972).
Soylent Green (1973).
Addio zio Tom (136 minutes version, 1971).
Addio zio Tom (123 minutes version, 1971).
Arsenic and Old Lace (1944).
Игла (1988).
Città violenta (1970).
C.R.A.Z.Y. (2005).
Appropriate Behavior (2014).
Pride (2014).
Butter on the Latch (2013).
Wadjda (2012).
Passage à l’acte (1993).
Alone. Life Wastes Andy Hardy (1998).
Outer Space (1999).
Instructions for a Light & Sound Machine (2005).
Michael Kohlhaas (2013).
Lifeforce (1985).
Barefoot (2014).
The Three Musketeers (1948).
Go (1999).
Stage Beauty (2004).
The Nice Guys (2016).
En kort en lang (2001).
October Gale (2014).
The Doom Generation (1995).
Sei donne per l’assassino (1964).
The Hitcher (1986).
The Killing of a Chinese Bookie (1976).
Winter’s Bone (2010).
The Raspberry Reich (2004).
Two Moon Junction (1988).
Green Room (2015).
The Conjuring (2013).
Sinister (2012).
Television Delivers People (1973).
Oculus (2013).
Bloodsucking Bastards (2015).
Get Real (1998).

CRANC #01 [viernes 27 de mayo, Barcelona]

Cranc

Cranc es un nuevo proyecto de proyecciones de cine y video experimental, con debates posteriores, que se organiza una vez al mes en las instalaciones de la imprenta L’Automàtica situada en el barrio de Gracia de Barcelona.

El viernes 27 de mayo se inaugura esta iniciativa con la presentación de la primera edición de la editorial Angular (un libro y un DVD cuya caja se ha producido en la misma imprenta) y una muestra de trabajos de la realizadora Blanca Rego (cuya pieza Engram (optical sound #001) es una de las que forma parte de la compilación de Angular). Esta primera sesión, dividida en dos partes diferenciadas, propone un diálogo estético y semántico entre trabajos que investigan las posibilidades cinemáticas y acústicas tanto de las herramientas fílmicas como de los dispositivos digitales.

Viernes 27 de mayo a las 20h
5€ con consumición
L’Automàtica
C/ de la Legalitat, 18.
M L4 Joanic, L3 Fontana

1º parte:​ Angular

Remote (2011) Jesse McLean​. Video. 11 min
Tokyo-Ebisu (2010) Tomonari Nishikawa. 16 mm/ Video. 5 min
Wingdings Love Letter / Places With Meaning (2012 – 2013) Sc​o​tt Fitzpatrick​. 16 mm/ Video. 5 min.

​2º parte: Blanca Rego

Engram (optical sound #001) (2013) Video. 2 min.
You must be complex to want simplicity (2014) Video. 1 min.
Due to Violent Content, and Flashing Lights with Strobe Effects, Viewer Discretion Advised (2015) Video. 1 min.
Nonobjective Cinema (2015) Video. 2 min.
Computer Music Studies: Untitled (2015) Video. 2 min.
Rainbow Britte (2012) Video. 7 min.​
Time-Space Compression​ (2015) Video. 2 min.​
Psycho 60/98 (2016) Video. 6 min.​​

The sexuality of the loud noise

— You made a loud noise.
— You didn’t make umbrage with the loud noise. You made umbrage with the fact that you’ve got a load of gay people in a straight bar. That’s what you’ve got your problem with. Admit it, just admit it.
— No…
— Absolutely admit it.
— The sexuality of the loud noise was not an issue with me, it was the fact that the noise was loud.
— Oh, right, so it’s just merely a matter of decibels.

Weekend (2011).

Poison (1991)

Poison

Poison (1991), Todd Haynes.

I think that Poison was the first film I watched by Todd Haynes, many years ago. I’ve seen all his films and I like all of them, but Poison and Velvet Goldmine hold a special place in my heart (Velvet Goldmine is probably on my top 10 favourite films of all times).