may be preferred for their relatively larger working area, but direct animation is done on 16 mm or even Super 8 mm film as well. Since the sound strip on 35 mm film is optical, it is possible to create synthetic sound as well as images by drawing or otherwise reproducing forms in the soundtrack area. Animators and films In 1912, Italian futurists Arnaldo Ginna and Bruno Corra discuss their nine abstract films (eight of which are now lost) in their text Abstract Cinema – Chromatic Music. In 1916, American concert pianist Mary Hallock-Greenewalt produced hand-painted film strips, possibly intended for projection in her color organ, Sarabet. In 1926 Man Ray created Emak Bakia, which includes sequences made by exposing film directly to light. In 1935 Len Lye created the first direct film screened to a general audience, a promotion for the British General Post Office entitled A Colour Box as well as his movie Kaleidoscope. Lye and Norman McLaren produced hand-painted films for John Grierson in the GPO Film Unit. Lye went on to create direct films in New York. Beginning in 1941, McLaren continued this work at the National Film Board of Canada (NFB), founding the NFB's animation unit. NFB direct films created or co-created by McLaren include Boogie-Doodle (1941), Hen Hop (1942), Begone Dull Care (1949) and Blinkity Blank (1955). In 1946, Harry Smith produced hand-painted films in San Francisco which screened at the Art in Cinema series at the San Francisco Museum of Art. 1961 – "O Átomo Brincalhão" by Brazilian animator Roberto Miller. He worked at the National Film Board of Canada and later hosted a TV show about animation. In 1970, José Antonio Sistiaga exhibited the first feature-length hand-painted film, the silent epic , in Madrid. Stan Brakhage, Mothlight (1963) Harry Everett Smith Rose Bond Julian Antonisz Pierre Hébert, Memories of War (1982) Chel White, Metal Dogs of India (1985) 1991 Caroline Leaf – The Two Sisters Steven Woloshen produced and directed Ditty Dot Comma (2001) and Cameras Take Five (2003) Richard Reeves References Bibliography Robert Russett, Cecile Starr: Experimental Animation: Origins of a New Art (1988), Malcolm LeGrice, Abstract Film and Beyond. [MIT Press, 1979] The Dream of Color Music, And Machines That Made it Possible Michael Betancourt, Mary Hallock-Greenewalt: The Complete Patents. [Wildside Press, 2005] Tess Takahashi. “‘Meticulously, Recklessly Worked-Upon’: Materiality in Contemporary Experimental Animation,” The Sharpest Point: Animation at the End