If the employment of Lancelot Speed as set designer had the ulterior motive of persuading him to join Barker's asĪn animator, then it was unsuccessful.
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However, the series seems to have ended by 1916. In fact, one of their most notable and unique features.Ī photograph reported to have been taken 26 March 1915 shows Gandolphi at work under the camera at The cartoons are very wellĭrawn, and they are set in motion by means of exceedingly clever trick effects.
Teddy' (depicting the manner in which the ex-President of the United States makes a successful kill), and 'Bronchoīilly Loops the Loop' (illustrating some surprisingly aeronautical feats by a cowboy). Lloyd George drawing his inspiration from an animated mangel wurzel), 'The Dress Germ' (offering an ingeniousīacteriological explanation of the various phenomena in modern dress), 'How I Killed My First Jaguar by Colonel The first few numbers deal in a humerous manner with such subjects as 'How a Budget is Made' (showing The only record we have is of a set of four reviewed by Bioscope : Using the jointed cutout technique widely adopted in Britainįor speed and economy, he and his cameraman Leslie Everleigh (who had to crouch beside the camera just below theĬeiling, cranking one or two frames as required) turned out two 300ft cartoons each week at the height of their Artist F Gandolphi had a small room at 1 Soho Square where he had been making cartoons under the series title Not that Barker had ignored the animated cartoon film. He hadĪlso been making war cartoons for Neptune Films. He was, however, a talented illustrator of fantasy adventures. Have not found any evidence to verify this. It is commonly given that Speed had previously illustrated an edition of the novel, although I He himself directed a version of H Rider Haggard's She (London Trade Show 29 Februaryġ916) employing artist and illustrator Lancelot SpeedĪs scene designer. Leicester Square before the end of the last performance the same day.īut Barker was also well aware of the potential for feature length dramas, and produced many spectacular films at Liverpool to London, processed, titled, edited and printed at Soho Square in time to be shown at the Empire Greatest publicity stunt was the annual filming of the Grand National, with the footage being rushed by rail from Winter months prevented daily filming, so the idea had to be dropped. At Warwick Trading he had attempted a daily newsreel, called London Day byĭay, in which one new item would be added each day, replacing an older one: however, foggy conditions in the Will Barker was passionate about "topicals" (documentary films), so much so that he renamed his Soho Square Would eventually become the famous Ealing Studios), and in March 1910 opened an office and a processing laboratory, with editing and printing facilities, at 1 Soho Square. Ownership of the premises in Ealing that Autoscope had originally purchased for use as a film studio (and which
Resigning from Warwick Trading, he set up Barker Motion Photography Ltd in December 1909. Autoscope merged with the Warwick Trading Company in 1906 with Barker becoming Managing Director of the William George Barker was one of the pioneers of British filmmaking, forming his first company, Autoscope, inġ901. Barker Motion Photography Ltd Preface History Studios PersonnelīARKER MOTION PHOTOGRAPHY LTD (1909-1918) KINE KARTOONS (1914-1915)
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