Amunategui released another feature,Cesante, in 2003. ChileAnimación, a service studio,
produced animation for U.S. TV. Independents Vivienne Barry (Nostalgias de Dresden, 1990)
and Thomas Wells made shorts. A free trade agreement between Chile and the United States
was signed in 2003.
The first Brazilian animated film was O Kaiserby caricaturist Seth (Álvaro Marins) in
- It was followed by a second film almost right away, but the only animation produced
for many years thereafter was advertising. During the 1930s and 1940s several animators
made short films. Anélio Latini Filho animated the first Brazilian feature in 1953:Sinfônia
amazônica. He learned animation by reading manuals and watching North American films.
Avant-garde artists Roberto Miller, Rubens Francisco Lucchetti, and Bassano Vaccarini
made films influenced by Norman McLaren in the 1950s. Yppe Nakashima produced the
TV series Papa Papoand some shorts in the 1950s, followed by the animated feature As
avênturas de Piconzé, made in collaboration with João Luiz Araújo and Sylvio Renoldi in - The young artists of the Cêntro de Estudos do Cinêma de Animação and Fotogramas
produced more shorts during the late 1960s. During the 1970s and 1980s Ernesto Stilpen,
Antônio Moreno, and Marcos Magalhães won awards with their films. About the same time
the comic strip artist Maurício De Sôusa produced animated TV shorts and features about
his characters, Mônica, Magali, and their friends. In Brazil the Anima Mundi animation fes-
tival brought in animators from around the world.
Cora Film opened an animation department for advertising in Bogotá, Colombia, in the
1960s. Nelson Ramirez at Producciones was a pioneer in Colombian character animation.
(Shorts are a Colombian staple.) Cartoonist Ernesto Franco and animator Luis Enrique
Castillo made shorts first, and later, in the 1980s, Philip and Magdalena Massonat and Carlos
Eduardo Santa also made them. Animator Fernando Laverde made puppet shorts and a
feature La pobre viejecitain the 1970s and then his most famous film,Martin Fierro(1988),
made in co-production with animators in Argentina and Cuba. Studios like LEPIXMA and
Toonka Films made shorts shown in festivals and created animation for TV. Younger ani-
mators like Miguel Alejandro Bohórquez Nates returned to the Colombian staple, making
shorts for the Internet.
Cartoonist Manuel Alonso fathered Cuban animation with his short Napoleón, el faraón
de los sinsaboresin 1937. In Santiago de Cuba a group led by César Cruz Barrios was
founded, and they made the first Cuban color short El hijo de la ciencia (1947).In 1959, after
the Cuban revolution, an animation division was founded in the new Instituto Cubano de
Arte y Industria Cinematográficos (ICAIC) and led by Jesús de Armas. The films produced
were mainly social and political. The mid-1960s saw the output of mostly educational films,
but Luis Rogelio Nogueras produced a pacifist film, and Hernán Henríquez adapted a folk-
tale. The ICAIC was restructured in the 1970s to produce films for children, fantasy films
with little dialogue for the youngest, and action and adventure for those eight to fourteen.
In the 1980s animators began to make films for adults with more experimentation in style.
Important Cuban animators include Tulio Raggi, Mario Rivas, and Juan Padrón.
Mexican animation first became popular in the 1940s. Caricolor and Cinemuñecos were
founded. Animators like Ernesto Terrazas, Rodolfo Zamora, and Ernesto López worked in
the 1950s at a company started by R. K. Thompkins. Later they moved to Gamma Pro-
36
1995
Toy Story, the first major CGI
feature, is released.