237:) was a reference to von Luxburg's supposed order to the German U-boat captain who sank the ship. President Yrigoyen felt he had no choice but to order the Ministry of Foreign Affairs to confiscate the film the day after it premiered. In doing this, the Radical showed himself little better than the repressive Conservative presidents he had replaced. On the other hand, Cristiani was not imprisoned and spent the next several years creating political cartoons and caricatures for the newspapers. Two other animated features were put out at this time by Andrés Ducaud, the man who designed the fire effects in
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was halted when
President Yrigoyen was ousted by a Conservative military coup d'état. With so much invested in the film so far, Cristiani decided to proceed, re-arranging the plot to de-emphasize Yrigoyen and the sharks, and carefully adding the characters of the generals as the heroes, in an attempt
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This short film did surprisingly well, and Valle announced a new project: the green animator would next create the world's first feature-length animated film, with
President Yrigoyen as the subject. The funding would come from a Mr. Franchini, who owned a chain of movie theatres to show the finished
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in the president's seat. Yrigoyen favored the lower middle class, especially in Buenos Aires, and granted unprecedented freedom to the press. The press in response turned on him, mocking his social awkwardness, his replacement of
Conservative corruption with Radical corruption in the government, and
226:. The tales of the survivors of the incident led nearly everyone to realize what really happened, but Yrigoyen swung his political weight to cover the incident up, out of fear that Argentina might be pushed into the war as an enemy of Germany, an outcome he feared just as much as a German alliance.
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To support his growing family, Cristiani founded the advertising company Publi-Cinema, where he made short commercial cartoons. To show these cartoons, he traveled to the poorer parts of town, where no movie theatres were to be found, and showed the paying public
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In 1928, the aging Hipólito
Yrigoyen was re-elected president of Argentina. Cristiani felt that the man was too dominated by the corrupt leaders of the Radical party. With a script by Eduardo Gonzalez Lanuza, he set out to make his third animated feature film,
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film. Cristiani would get his character designs from newspaper cartoonist Diógenes
Taborda (pen name "El Mono", "The Monkey") Cristiani managed to accomplish his goal, doing the lion's share of the animation, the 58,000-frame
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to protect himself from possible persecution. He then added an everyman character named Juan Pueblo, to become the moral centre of the film. With the provisional blessing of the provisional ruler of
Argentina, General
214:'s thunderbolts to cleanse Buenos Aires of immorality and corruption. The result is a burnt city. The film was well-received, but most of the praise went to producer Valle, with what was left over going to Taborda.
105:, Italy. His family moved to Buenos Aires, Argentina in 1900, and Quirino spent his childhood soaking up the fast pace and left-leaning politics of the great southern metropolis. He came to consider himself a
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In 1918, the German commander in
Argentina, Baron von Luxburg, decided to manipulate Argentina into joining World War I on its side by sinking an Argentine ship and blaming the act on the
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Cristiani has been called "The man who anticipated Disney." Two fires in 1957 and 1961 destroyed the majority of
Cristiani's work, including the only prints of
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came to
Argentina as part of his Latin America research tour, Cristiani showed his films to him, then sent him to cartoonist Molina Campos, the source of the
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shorts and other films interspersed with his animation. This did so well that the police shut him down for "disturbing the peace and interrupting traffic".
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his decision to keep
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As a teenager, he developed a passion for drawing, which led him through a brief course with the Academy of Fine Arts to the publication of political
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for his adopted country. Valle was apolitical, but he knew the porteños were not. He hired the twenty-year-old Cristiani off the street, gave him
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Cristiani saw the incident as the perfect opportunity, and with a new set of producers created the world's second feature-length animated film,
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Unable to compete with Disney, which had better technology and budgetary capacity, Studios Cristiani was converted into a dubbing/subbing lab.
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The national elections of 1916 peacefully ended the 36-year-long rule of the Conservative party and placed Radical party leader
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to Buenos Aires. In 1918 and 1926, a fire destroyed Federico Valle's film vaults; among the films lost forever was
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system for the recording since it was unlikely that most Argentine theaters would be able to handle
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Cristiani made three more animated films in his life, none of which gained much recognition. When
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President "Peludo" finished out his six-year term in 1922, and was succeeded by another Radical,
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first (as the natives of the port of Buenos Aires called themselves) and an Argentine second.
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at the time of release). Then, on September 6, 1930, a year into production, work on
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Cristiani showing in 1956 the cut and articulated figure of his satirical character
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for the city newspapers. Soon the perfect target for his satire presented himself.
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The movie was a satire, with President Yrigoyen ascending to the heavens to use
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After the death of Yrigoyen, Cristiani withdrew the film from circulation.
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Quirino Cristiani, The Untold Story of Argentina's Pioneer Animator
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Giannalberto Bendazzi (Anna Taraboletti-Segre, translator);
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came out with an episode including the one-minute cartoon
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Italian-born Argentine animation director and cartoonist
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Living in the capital was another Italian immigrant,
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629:Cartoons: One Hundred Years of Cinema Animation
423:La intervención en la provincia de Buenos Aires
175:La Intervención en la provincia de Buenos Aires
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573:"Hipólito Yrigoyen | El Historiador"
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348:Walt Disney
324:Peludópolis
310:Peludópolis
302:Peludópolis
114:caricatures
50:2 July 1896
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583:January 5,
553:References
431:El Apóstol
397:incomplete
336:Later life
296:El Apóstol
278:(1924) on
272:Luis Firpo
239:El Apóstol
204:El Apóstol
159:Émile Cohl
125:El Ápostol
97:Early life
86:cartoonist
39:Dibujantes
558:Citations
534:Carbonada
360:(1943).
190:El Peludo
155:newsreels
136:Armadillo
92:Biography
541:See also
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224:Entente
212:Jupiter
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