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Animation did pioneer Shamus Culhane glide cartoons secretly his own abstract painting in 1940s Woody Woodpecker? Apparently so, cartoon historian Tom Klein writing in the new edition of the animation: an interdisciplinary journal.
The New York Times:
"Culhane essentially 'hidden' his artistic excursions in plain sight, let by too quickly for the notice of most of his audience rush," writes Mr Klein in the 15-page article, titled "woody abstracted: film experiments in the cartoons by Shamus Culhane.""That according to Specht an animated secret had" (thanks to Bob Pescovitz!)In the article, Mr. Klein describes Mr. Culhane, then credited in his work as James Culhane, as a devotee of the avant-garde. He was influenced by the writings of the Russian theorists such as Sergei Eisenstein and Vsevolod Pudovkin, Mr. Klein writes, and spent the evenings in the American contemporary gallery in Hollywood. There he saw films of Fritz Lang and saw Jean Renoir, painting by Oskar Fischinger and definitely "a beret was inclined."
Mr. Klein writes that one of the experiments (Culhane) was a piece two seconds an explosion in "Dines Woody out," from 1945. He finds the frames "improvised as Visual music" in which Mr. Culhane in his autobiography "talking animals and other people," confirmed a moment Eisenstein inspired was.
The longest such experimental sequence was in the seven seconds steamroller smash-up in "the loose nut," also from 1945. And, later in this cartoon, Woody is blown in an abstract configuration, Mr. Klein, mentions in his article "the convergence of the animation and Soviet montage".
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