the HUAC. Hubley responded, and was set to appear before the HUAC on June 20, 1956. Hubley’s attorney, Arthur McNulty, postponed the hearing twice, first until June 28th, then to July 5th, likely since Hubley had already moved to New York City. On July 5, 1956, Hubley appeared before the HUAC at in Room 227 of the Los Angeles Federal Building with McNulty as his counsel. California Representatives Clyde Doyle and Donald L. Jackson presided over the hearing. When asked if he held communist sympathies, Hubley responded “I feel that in the area of politics…I do not feel personally that your committee should ask me to reveal or speak on these matters, either with my opinions or associations…I do not agree it is a proper question for a person such as myself to be asked”. Hubley invoked the Fifth Amendment for the remainder of the hearing. When asked if his films at UPA promoted communist ideas, Hubley replied: I have a lot of opinions on art…It is public work, and anyone is welcome to examine it and to look at it, and I stand on my work, and not on my opinions. My opinions can change, and I have changed them many times, all through my life, and I like the right we have to be able to change them. But the work stands. I have no shame about it. If anyone wants to examine it, it is there…My work has been my own work, and my own talent, and my own opinions. Hubley was never formally indicted by the HUAC, but the investigation did effectively blacklist him from Hollywood afterwards. He named his new studio Storyboard, Inc. out of fear of using his own name. Style and technique While at UPA, Hubley’s films were more flat and graphic than those of Disney Studios or Warner Brothers Animation. Hubley was greatly influenced by Ivan Ivanov-Vano’s The Tale of Czar Durandai (1934), which used limited animation and flat compositions to create an incredibly stylized world. While Hubley’s early UPA films featuring The Fox and the Crow animate the main characters in a style similar to that of Disney Studios, the films’ backgrounds showcase Hubley’s influence from European design. Punchy De Leon opens with a panning shot of a highly-stylized graphic background that uses skewed perspective, large blocks of color, and exaggerated shape language. Hints of Hubley’s stylization of background perspectives and