He even almost acts like a stage manager integrated

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hand or his entire body appear. He even almost acts like a stage manager, integrated into his films the way he directs the combining of sets, giant puppets, actors and manipulators . Rather than using the term “animated cartoon,” with its connotations of entertainment, Kentridge prefers to use the term “drawings for projection” to describe his work. The extraordinary Quay Brothers are two of the world’s most original filmmakers. Identical twins who were born in Pennsylvania in 1947, Stephen and Timothy Quay studied illustration in Philadelphia before going on to the Royal College of Art in London, where they started to make animated shorts in the 1970s (Smith). They have lived in London ever since, making their unique and innovative films under the aegis of Koninck Studios. Influenced by a tradition of Eastern European animation, the Quays display a passion for detail. Their breathtaking command of color and texture, and an uncanny use of focus and camera movement that make their films unique and instantly recognizable. Best known for their classic 1986 film Street of Crocodiles, which filmmaker Terry Gilliam recently selected as one of the ten best animated films of all time , they are masters of miniaturization and on their tiny sets have created an unforgettable world, suggestive of a landscape of long- repressed childhood dreams. In 1994, with Institute Benjamita they made their first foray into live-action feature-length filmmaking (Waller). In their own quirky
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way they seem eminently postmodern, not the least for their avoidance of narrative logic. Like many members of their artistic generation, the Quays also seem to view the past as unfinished and full of potential. Their animations show
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