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中文名: 約翰·哈布雷和菲絲·哈布雷動畫作品集英文名: John Faith Hubley資源格式: DVDRip版本: 美國動畫大師發行時間: 1957年導演: John Faith Hubley地區: 美國語言: 英語簡介:


John Faith Hubley是一對夫妻，國外是妻子跟老公的姓。
中文名： 約翰·赫布利
英文名： John Hubley
生 日： 1914-05-21
角 色：導演,編劇
生於威斯康星州馬裡內特，曾在洛杉矶藝術中心求學。後來進入電影界，在迪斯尼公司參加制作了《白雪公主》等大型彩色動畫片。1945年，他加入了專門拍攝動畫片的聯合美國制片公司，在此期間，他創作了一個動畫人物形象——馬古先生，而大受歡迎。1955年他離開此公司後，自己開辦的一家公司“故事片生產廠”，拍攝了許多短片，其中《月鳥》和《洞孔》分別獲得1959年和1962年奧斯卡最佳動畫短片金像獎。於1977年2月21日去世。


作品目錄
Filmography
Screen Gems
Wolf Chases Pigs (1942)
Old Blackout Joe (1942)
The Dumbconscious Mind (1942)
King Midas, Junior (1942)
The Vitamin G-Man (1943)
Professor Small and Mister Tall (1943)
He Can't Make It Stick (1943)
UPA
Flat Hatting (1944)
Robin Hoodlum (1948)
The Magic Fluke (1949)
Ragtime Bear (1949)
Spellbound Hound (1950)
Punchy de Leon (1950)
Gerald McBoing-Boing (1951)
Fuddy Duddy Buddy (1951)
Rooty Toot Toot (1952)
Storyboard Studios
Adventures of an * (1956)
Harlem Wednesday (1957)
Tender Game (1958)
Moonbird (1959)
The Tale of Old Whiff (1959)
Children of the Sun (1960)
Of Stars and Men (1961)
The Hole (1962)
The Hat (1963)
Herb Alpert and the Tijuana Brass Double Feature (1965)
Urbanissimo (1966)
Windy Day (1967)
Of Men and Demons (1968)
Zuckerkandl (1969)
Eggs (1970)
Dig (1972)
Cockaboody (1973)
Voyage to Next (1974)
People, People, People (1975)
Everybody Rides the Carousel (1976)
Second Chance: Sea (1976)
National Film Board of Canada
The Cruise (1966)
資料介紹
In 1955, the Hubleys opened an independent animation studio in New York City called Storyboard (the studio couldn't bear John Hubley's name because he had been blacklisted). Their commercials for clients like Easy Pop and Maypo became hits. When Sesame Street came to television, the Children's Television Workshop commissioned the Hubleys to create animated shorts, which gave them the financial freedom to work on their own independent films.
Even though there is virtually no market for independent animated films, the Hubleys made a pact to make an independent film every year, and completed 21 films together. Seven of their films were nominated for Academy Awards, and three - Moonbird (1959), The Hole (1962) and Tijuana Brass Double Feature (1965) - won Oscars.
Outside the Lines
The Hubleys could take on anything in terms of subject matter: nuclear annihilation, the Cold War, overpopulation, the death and rebirth of creativity. They seemed to be limitless, in terms of their daring, and what they wanted to put into animation - what they felt animation could handle. - John Canemaker, animation historian / filmmaker
Artist and activist John Hubley was transformed as a filmmaker when he married Faith. Scholars describe his drawings before their collaboration as graphically brilliant but cold. Once they began to work together, there's a warmth that's very obviously her contribution and influence on him and their shared vision, says animation historian Charles Solomon.
The Hubleys' aesthetic was the antithesis of the big studio style. Whereas Disney artists were creating animated characters on cellular pages, drawing hard lines filled in with opaque paint, the Hubleys drew on paper and painted with watercolors, often not staying within the lines. They came up with techniques that you could see the hand of the artist - in that the lines shimmer and bubble, said Canemaker. Their work had a free form, impressionistic quality where characters could metamorphose into anything, a style influenced by modern painters such as Picasso and Matisse.
They violated all the rules. They threw dust on the cels, and they worked with grease so the paint would run. It came out beautifully; everybody was awestruck that such a thing would work. - Bill Littlejohn, animator
The Hubleys were dynamic innovators in the animation field. They were among the first to bring jazz and animation together, working with jazz greats Ella Fitzgerald, Dizzy Gillespie, Oscar Peterson, Benny Carter and Quincy Jones. They were also the first animators to use real children's voices instead of actors' voices, animating the improvised dialogue of their children at play. Moonbird (1959) is based on the tape-recorded ramblings of their two sons, Windy Day (1967) and Cockaboody (1973) uses the musings of John and Faith's daughters. This was a real innovation in terms of characterization and in terms of trying to capture the real world of children on film rather than what children do that adults think is cute, says Solomon.
Their decision to draw human (versus animal) characters accompanied with voices of different racial and ethnic qualities were another first in animation. The Hubleys also tackled important social issues in their films: investigating the frontiers of philosophy and science ( Of Stars and Men, 1961); depicting the arms race and the absurdity of war ( The Hat 1964); warning against nuclear destruction ( The Hole, 1962); questioning overpopulation ( Eggs, 1970) and urban development ( Urbanissimo, 1966); exploring the eight stages of Man ( Everyone Rides the Carousel, 1976); and defending children's rights ( Step by Step, 1979).
Working Together
Working closely together on every aspect of the film, from the design to the schedule to the artwork, they complemented each other's strengths, and fought it out when they disagreed.
Another joint venture in the Hubley partnership was their children, Emily, Georgia, Ray and Mark, all of whom have pursued creative occupations. Emily Hubley shares her parents' passion for animation; she animated many of her mother's films and is an accomplished filmmaker in her own right. Georgia Hubley is the drummer for the band Yo La Tengo. Ray Hubley is a film editor and Mark Hubley is a horse trainer.