of Canada (NFB). Hubley was chosen to direct the film for the NFB, which eventually became The Cruise (1967). The film was designed to be an educational tool for school use, though Hubley had very little involvement with creating the curriculum surrounding the film. The film would be screened in high schools and colleges across the United States and Canada throughout the 1960s and 1970s. Hubley’s involvement with education would continue in the 1970s, when he and Faith became professors of film at Yale University teaching animation and “The Visualization of Abstract Themes”. The Hubleys continued to make short films together for the rest of the 1960s. Their next film, Windy Day (1967) featured an improvised conversation between their daughters Georgia and Emily “explor[ing] the child’s projection of fantasy to enact romance, marriage, and growing up”. The film was nominated for the 1968 Academy Award for Best Animated Short, but lost to Disney’s Winnie the Pooh and the Blustery Day. The Center for the Study of Democratic Institutions commissioned Hubley for Zuckerkandl! (1968), a short film interpreting a comical routine by Robert M. Hutchins. The short was also released as a book with illustrations by Hubley. Hubley was commissioned again for Storyboard, Inc.’s next film, Of Men and Demons (1969), by IBM for Expo ‘70 in Osaka, Japan. The film earned John and Faith their fifth Academy Award nomination for Best Animated Short. Hubley Studios, Inc. and Late Career: 1970–1977 1970 saw the release of Hubley’s fifteenth independent directorial credit with Eggs (1970). For the first time, John and Faith collaborated with musician Quincy Jones, who composed and performed the film’s score. The film addressed themes of fertility and death and continues Hubley’s run of collaborating with musicians as voice actors, as singers Anita Ellis and Grady Tate lent their voices for the film, as did actor David Burns. The film was entirely animated by Tissa David, a recent hire of the Hubleys best known as the second woman to ever direct a feature-length animated film, Bonjour Paris! (1953). Around this time, Storyboard, Inc. was renamed Hubley Studios, Inc. (sometimes referred to as The Hubley Studio or Hubley Studios), indicating Hubley’s growing confidence towards using his name as the effects of the blacklist faded away. Despite the critical acclaim the studio’s films received, Hubley was still struggling financially. “Film shorts seem inevitably to be financial failures, for the only people