David Anderson

Part of Sweet Disaster; a 1986 series of short films made for Channel 4. It consists of “animated visions of the apocalypse”.

By turns comic and scary, the film documents activities in a floating globe filled with doors, keys, and a bickering couple whose actions appear to lead to what Hoban's narrator calls "the end of snivvelyzashuns" (civilisation). The film is a companion piece to another Anderson / Hoban collaboration, Deadsy, collectively entitled Deadtime Stories For Big Folk.

A young boy is taken by a train on a mysterious journey. BAFTA-winning 14 minute adaptation of H.R. Millar's 1927 book, Dreamland Express.

Part of Sweet Disaster; a 1986 series of short films made for Channel 4. It consists of "animated visions of the apocalypse".

A graphic interpretation of a man's fascination with weaponry and the sexual power of military aggression, via the story of the Grim Reaper acquiring additional weaponry after undergoing a sex change. Using a combination of live action, laser xerography, hand rendering, and model animation, the film is a companion piece to another Anderson / Hoban collaboration, Door, collectively entitled Deadtime Stories For Big Folk.

Safety on the Move campaign short film, in which we learn about Mark (a great bloke).

Silently conveys a couple's fear of an immanent nuclear blast. Part of Sweet Disaster; a 1986 series of short films made for Channel 4. It consists of “animated visions of the apocalypse”.

A documentary on the work of experimental British animator David Anderson.

A gentle story of a woman who, though able to reverse time, is unable to undo her fate.

The poet Hafez, also known as the Teller of Secrets, used the language of human love and the metaphors of wine and drunkenness to describe his desire for the Divine and intoxication with the mysteries of the Universe. Contrast the current, often narrow, view of the media on Iran with the profundity and sophistication of Persian (Iranian) culture and its influence. The landscapes and characters from the film are all constructed of Persian calligraphy.

Motion Control examines the synergy of camera and performer. Shot on 35mm, it explores from the camera's pov, the physical and emotional entrapment of the ageing and glamorous dancer in her private and personal spaces. The film is notable for hypersound foley overlaid with text and electro-opera composed by Billy Cowie and sung by soprano Naomi Itami.