"I think of Odalisque as my first film. It was completed after film school and I worked with just a graphite pencil, a small group of colored pencils and animation bond. It is a trilogy of amorous dreams coming from the imagination of a woman recalling her childhood, her beloved twin so difficult to separate from and becoming an adult sexual person. The aria Sempre Libera from La Triviata by Verdi opens the film and the poem Leda and the Swan by WB Yeats ends it. It was great to work with Michael Riesman who created the sound track. I loved working in NYC in those days with Robin McDaniel, Rebecca High and others." Preserved by the Academy Film Archive in 2017.

In a Medieval castle, a marauder tries to kidnap the twin infant sons of the lord. He makes off with only one, whom he drops about a mile away. A pig rescues this baby, so one brother grows up high on the hog, the other down with the swine; one is lazy, his lost brother is industrious. Years later, when a neighboring prince declares war, the brother in the castle is too soft to fight. Through happenstance, the twins are united just before the final battle. Will the upper-class brother let his humble sibling lead the troops to certain defeat and death? Preserved by the Academy Film Archive.
1996

Wallace's whirlwind romance with the proprietor of the local wool shop puts his head in a spin, and Gromit is framed for sheep-rustling in a fiendish criminal plot.
1996

As Christmas approaches, Frannie Stein learns from her snide friend Gloria Oestriger that there is no Santa Claus. Frannie's disbelieving, but her father confirms the horrible truth. Frannie enlists the help of her younger brother, Kenny, and they go to a graveyard to dig up some parts, which they assemble in the Stein basement. Soon, they've finished their creation and are ready for revenge on Gloria. Who says there's no Santa? Preserved by the Academy Film Archive in 2012.
1993

When The Hand of God creates Adam, he must learn the ways of the world, and can only hope for company.
1992

Wallace and Gromit have run out of cheese, and this provides an excellent excuse for the duo to take their holiday to the moon, where, as everyone knows, there is ample cheese.
1990

NO NO NOOKY TV posits sexuality to be a social construct in a "sex-text" of satiric graphic representation of "dirty pictures." Made on an Amiga Computer and shot in 16mm film, NO NO NOOKY TV confronts the feminist controversy around sexuality with electronic language, pixels and interface. Even the monitor is eroticized in this film/video hybrid that points fun at romance, sexuality, and love in our post-industrial age. Preserved by the Academy Film Archive in 2017.
1987

Animated short film. Preserved by the Academy Film Archive in 2009.
1980

A symbolic reflection on issues of female sexuality, art and identity constructs.
1979

Begins as a whimsical piece with 'sheets' of lines running down the screen, progressing into more and more complex geometic patterns but without deviating from the basic precepts of 'dot and line' animation. Jazz piano on a lazy Sunday afternoon, and a spring color palette. -- Stephanie Sapienza. Preserved by the Academy Film Archive in 2001.
1977

Mountain Music illustrates what happens when technology gets too advanced too soon. Preserved by the Academy Film Archive in 2012.
1976
An animation (long before there were such things) for Oscar Brown Jr’s track “But I Was Cool”, from his 1961 debut album Sin & Soul. Preserved by the Academy Film Archive in 2012.
1971

An animated short consisting of 4 segments: bowl, garden, theatre, marble game. Preserved by the Academy Film Archive in partnership with Harvard Film Archive in 2015.
1970

A deer, disillusioned by the consumerism that defines his life. A lizard, ostracized from society, forever wandering. A chance meeting in the middle of a field. Who will survive? And who will transcend existence? Preserved by the Academy Film Archive in 2009.
1969

Two boys go outside at night to capture a bird. Preserved by the Academy Film Archive in 2003.
1959

Directed, assembled by Hy Hirsch.
1953

An mutoscope motion picture installation commissioned for the 86th anniversary of the Guggenheim museum. Later preserved and turned into a short film. Preserved by the Academy Film Archive in 2000.
1945

Opens with a short canonical statement of a theme upon which the entire film is constructed. The canon is repeated in contrasting variations by means of color. A second section poses the same image in deep film space. The image unfolds itself repeatedly, leaving the receding image to continue on smaller and smaller. Preserved by the Academy Film Archive in 2005.
1944

The entire film is divided into four consecutive chosen approaches—the fourth section devoted to a reiteration and extension of the original material. Preserved by the Academy Film Archive in 1999.
1944

A stop-motion animated account of the 1942 Battle of Guadalcanal in World War II. Preserved by the Academy Film Archive in 2004.
1943

The first Studies were synchronized with records (Fischinger made a total of 13 Studies all without sound). It was only with the introduction of sound, beginning with Study No 6 that the films did full justice to this musical principle. The play of the white lines, the arcs, and the upside-down U’s running hither and thither like ballet dancers was brought into perfect synchronization with the music, and thus the films offered an abstract illustration of the melodies. Study No 6 is certainly the best of his films in terms of forms. - Hans Scheugl and Ernst Schmidt, Jr. Preserved by the Academy Film Archive in 2001.
1930