Animated adult soap opera where each episode focuses on the bizarre lives of London's most chaotic collection of flat-dwellers: Sophie and Jonathan live unharmoniously in Flat B where she reluctantly supports his ineffectual (and often stoned) attempts to become the next big thing in films. In between resenting him and restraining their vicious cat Fatso, she also plays reluctant host to the lodger from Hell, Flossie, an out-of-work actress who specialises in baby voices and flirting with Jonathan.
Flat C is home for the Stenson family, headed by single parent Marge who is broke, blonde and hell-bent on finding a new boyfriend. Her son is 16-year-old Woody Stenson who spends most of his time concentrating on sexual discovery (but only with himself).
And completing the household are the owners of Flat D, Robbie and Larry; a gay couple much feted by Flossie.
Sarah Ann Kennedy
For much of the 1990s Britain regularly walked off with the world’s major animation awards, including the Oscar, Cartoon d’Or and top festival prizes. Most of the winning films were commissioned by television channels – and most of these by Channel 4.
Set up in 1981, Channel 4 was state-regulated but funded by advertising, and operated with a remit to foster innovation. The battles between art and commerce raged from day one. Kitson was on the battlefield. She offers a lively picture of animation’s fluctuating fortunes within the Channel and, in microcosm, of all arts programming in a commercial world.
The book also celebrates thirty landmarks of British animation and the artists who made them. Detailed film portraits offer insights – personal, technical and historical – into the genesis, production and ultimate impact of a whole range of works, from The Snowman to the 2007 Oscar®-winner, Peter and the Wolf. Between them come more Oscar®-winners, popular series, well-known Aardman films, avant-garde works from the likes of Jan Švankmajer and the Quay brothers – and a host more.