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John Canemaker Animation Collection

Call Number



1903-2018, inclusive
; 1970-2000, bulk


Canemaker, John


200.5 Linear Feet
in 67 manuscript boxes, 2 half manuscript box, 1 shoe box, 23 record cartons, 42 flat boxes, 11 oversize folders, and 225 jewel cases


111.52 Gigabytes


19 MiniDV

Language of Materials

Materials are in English.


John Canemaker (b. 1943) is an internationally recognized independent animator, animation historian, author, teacher and lecturer. Since 1988, he has directed the animation program at the Tisch School of the Arts' Kanbar Institute of Film and Television. He has also been a Guest Fellow at Yale University. Canemaker's interest in animation began in childhood, and it has moved him to write more than 100 articles on the subject, as well as several books, including the story of the making of Richard Williams' Raggedy Ann & Andy entitled: The Animated Raggedy Ann & Andy (1977). Canemaker's own films include:'The 40's' (1974), 'Bottom's Dream' (1983), 'The Hunger Project' (1987), animation sequences for 'The World According To Garp'(1981), 'You Don't Have To Die' (1988) which received an Academy Award, Confessions of a Stand-Up (1993), and Bridgehampton (1998). Canemaker began collecting the material that comprises this collection in the early 1970's, and eventually obtained a wealth of material about the history, technique,and cultural significance of animated films. Items include animation resources such as: documentary material, drawings, posters, storyboards, recorded interviews and lectures, personal research materials for his articles and books, and periodicals.

Biographical Note

John Canemaker (b. 1943) is an internationally recognized independent animator, animation historian, author, teacherand lecturer. In 1980, he began teaching and developing the animation program at New York University, Tisch School of the Arts'Kanbar Institute of Film and Television Department. Since 1988 he was director of the program and retired in 2022 as a tenured full professor. From 2001-2002 he was Acting Chair of the NYU Undergraduate Film and Television Department.

Raised in Elmira, New York, Canemaker began an acting career which included off-Broadway and advertising work in New York City from 1961 to 1965. In 1967, after a two-year stint in the Army, Canemaker, with funds from acting assignments in TV commercials (he appeared in over 35 advertisements for major products), obtained his Bachelor of Arts degree from Marymount Manhattan Collegein 1974 and Master of Fine Arts in Film from New York Universityin 1976. He was awarded an honorary Doctor of Fine Arts by Marymount Manhattan College in 2007.

While studying for his Bachelor of Arts degree, Canemaker's childhood interest in animation revived. He began making sponsored animated shorts and wrote the first of more than 100 articles on animation history. His first book, the story of the making of Richard Williams' RAGGEDY ANN and ANDY, was published in 1977 as "The Animated Raggedy Ann and Andy." In 1982, he wrote the introduction to "Treasures of Disney Animation Art," and, in 1987, he published, "Winsor McCay - His Life and Art," and, in 1991, "Felix, the Twisted Tale of the World's Most Famous Cat." There followed "Tex Avery: The MGM Years" and "Before the Animation Begins: The Art and Lives of Disney Inspirational Sketch Artists (both in 1997), "Paper Dreams: The Art and Artists of Disney Storyboards" (1999), "Walt Disney's Nine Old Men and the Art of Animation" (2001), and "The Art and Flair of Mary Blair" (2003). Research material from all of these books now resides in the Fales Library. "Lucy Goes to the Country," a 1998 children's book collaboration with Joseph Kennedy, contains illustrations by Canemaker.

His research in the history of animation inspired two of his own films, REMEMBERING WINSOR McCAY (1976) and OTTO MESSMER and FELIX THE CAT (1977).

Canemaker's filmography includes independently-made animated shorts that are part of the permanent collection of New York's Museum of Modern Art. Among them: THE 40's (1974), STREET FREAKS (1975), CONFESSIONS OF ASTARDREAMER (1978), THE WIZARD'S SON (1981), BOTTOM'S DREAM (1983),CONFESSIONS OF A STAND-UP (1993), BRIDGEHAMPTON (1998), THE MOON AND THE SON: AN IMAGINED CONVERSATION (2004) a 28-minute film about Canemaker's father, which won a 2005 Oscar and a 2006 Emmy.

In the early 1980's, Canemaker animated several Children's Television Workshopfilms, TV commercials, and, in 1981, created the animation sequences for the Warner Bros. feature THE WORLD ACCORDING TO GARP. He designed and directed animation sequences in the Academy Award-winning HBOdocumentary YOU DON'T HAVE TO DIE (1988) and the Peabody Award-winning CBSdocumentary BREAK THE SILENCE: KIDS AGAINST CHILD ABUSE (1994).

JOHN CANEMAKER: MARCHING TO A DIFFERENT TOON, a DVD/home video collection of his films, is distributed by Milestone Film & Video/Image Entertainment. In addition, Canemaker writes regularly on animation for the New York Timesand is on-camera and audio commentator for DVD versions of THE FANTASIA ANTHOLOGY, DUMBO, BEAUTY AND THE BEAST, PETER PAN, SNOW WHITE AND THE SEVEN DWARFS, CUT-UP: THE FILMS OF GRANT MUNRO, and WINSOR McCAY: THE MASTER EDITION. He has appeared on NBC's TODAY, PBS's NEWS HOUR WITH JIM LEHRER,and ENTERTAINMENT TONIGHT, and has lectured throughout the United States and in Brazil, Canada, England, France, Germany, Italy, Japan, Slovakia, Spain, Switzerland, and Wales.

For more information, visit:

FILMOGRAPHY: Selected Personal Films:

Missing Title

  4. BOTTOM'S DREAM (1983)
  5. THE WIZARD'S SON (1981)
  9. THE 40'S (1974)
  10. STREET FREAKS (1974)
  11. GREED (1974)

FILMOGRAPHY: Selected Sponsored Films:

Missing Title

  1. RAID (1996) - R/Greenberg Assoc.
  2. JET DRY (1996) - R/Greenberg Assoc.
  3. LIVING FOSSILS (1995) - National Geographic Society.
  5. ANGELS ON ICE (1994) - GMHC psa
  6. SHELL OIL (1994)- R/Greenberg Assoc.
  7. HOW TO GET BLESSED WITHOUT SNEEZING (1993) - Trinity Television
  8. FREE RADICALS (1993) - Este Lauder/Pharmaceuticals
  9. THE CREATIVE SPIRIT (1992) - PBS series
  10. THE GALAXY CLASSROOM PROJECT (1992) - Hughes/Umbrella Ltd.
  11. CIRCUS FOR LIFE (1992) - GMHC psa
  12. SCIENCE EXPERIENCES (1992) - MacMillan McGraw-Hill/Terra
  13. BEHIND THE SCENES (1992) - Learning Designs/PBS.
  14. AIDS DANCE-A-THON (1991) - G.M.H.C. psa
  16. YOUNG PEOPLE AND RELATIONSHIPS (1991) Channing L. Bete Co.
  17. BISON BINGE (1991) - CTW - 3-2-1 Contact
  18. FLINTSTONES/JETSONS Interactive CD-ROM (1991) - R/Greenberg
  19. HATE ON TRIAL (1991) - WNET/13
  20. KIMBERLY CLARK/ NEW FREEDOM (1990) - Ogilvy & Mather
  21. REQUEST PAY PER VIEW TV (1990) - E.W. Power Agency
  22. WHAT'S UP, DR. RUTH? (1989) - Lifetime Television series
  24. FOOD `a la FLOYD (1989) - Lifetime Television series
  26. Diapers - Ogilvy & Mather
  27. YOU DON'T HAVE TO DIE (1988) - HBO special
  28. LATE FOR DINNER (1988) - Prod.: Cinemax/New Star
  29. THE HUNGER PROJECT (1988) - THP/The Leland Company
  31. KOTEX (1987) - Kimberly Clark/Ogilvy & Mather
  32. LYLE LYLE CROCODILE (1987) - Prod.: Michael Sporn Prod./HBO special
  33. WHO'S THAT GIRL? (1987) - Broadcast Arts/Warner Bro. - title
  34. JOHN LENNON SKETCHBOOK (1986) - producer: Yoko Ono
  35. HOLIDAY INN (1986) TV commercial. - Bozell, Jacobs, Kenyon & Eckart
  36. PEE WEE'S PLAYHOUSE (1986) - CBS/Broadcast Arts
  37. THE ADVENTURE (1986) - Michael Sporn/CTW
  38. LITTLE NEMO (1985) - Animated feature. Prod.: Tokyo Movie Shinsha
  39. BRAINGAMES (1984) - HBO series
  40. EFFECTIVE ORAL PRESENTATIONS (1984) - Tower, Perrins, Foster & Crosby
  41. KAZ VS THE GYPSY MOTH (1983) - Chemical Abstracts Inc.
  42. BENATAR (1983) - HBO/Rising Star Inc. - title
  43. CAMPUS COMEDY (1983) - HBO/Rising Star Inc. - title
  44. DNA CONCERTO (1983) - 3-2-1 Contact/CTW
  46. THE WORLD ACCORDING TO GARP (1982) -Warner Bros.
  47. LAUGHTER IS GOOD MEDICINE (1981) - Prod.: Billy Budd Films
  49. 80 MILLION YEARS AGO (1981) - 3-2-1-Contact/CTW
  50. MUSIC MUSIC MUSIC (1981) - CBS Cable
  51. WOMAN OF THE YEAR (1981) - Kander and Ebb stage musical/Michael Sporn Productions
  52. CAPTAIN KANGAROO'S WAKE-UP (1981) - Bruce Cayard Productions
  53. ROCKY HORROR SHOW (1980) - Robert Fishko Productions
  54. Sesame Street (1980): LETTER "M"; WASH YOUR HANDS; NEEDLE AND THREAD
  55. SNEEZE; HUMMINGBIRD, ME AND MY "M" - Prod.: Bruce Cayard
  56. NETHERLANDS (1979) - Hot Hero Sandwich/NBC. Prod.:Jerry Lieberman
  57. HAPPY BIRTHDAY (1979) - CTW/3-2-1 Contact Prod.: Jerry Lieberman
  58. THE ART OF OSKAR FISHINGER (1977) - CBS Camera Three documentary. Writer and on-camera host: John Canemaker
  59. OSTRICH; KITTY; FLEA (1976) - CTW: The Electric Company - Prod.: Bruce Cayard
  60. THE BOYS FROM TERMITE TERRACE (1975) - CBS Camera Three documentary. Writer and on-camera host: John Canemaker
  61. DANCING BEAR (7 spots) - CBS/Captain Kangaroo (1975) - Prod.: Bruce Cayard
  62. ANGRY GOAT - Sesame Street (1975) Prod.: Derek Lamb
  63. SCARY THING; JUNGLE ROOM - Sesame Street (1974)- Prod.: Bruce Cayard


Missing Title

  1. JOHN CANEMAKER: MARCHING TO A DIFFERENT TOON ANIMATED FILMS 1978-1998 - Museum of Modern Art, New York, Friday, 6 November 1998.
  2. THE ANIMATED FILMS OF JOHN CANEMAKER - The American Film Institute, Los Angeles, 24 January, 1987.
  3. FILMS OF JOHN CANEMAKER - Lucca 20, Twentieth Annual Animation/Comic Book Festival - Lucca, Italy, 26 October - 2 November 1986.
  4. AN EVENING WITH JOHN CANEMAKER - "Cineprobe" - Museum of Modern Art, New York, November 5, 1984.


Missing Title

  1. The Art and Flair of Mary Blair. New York: Disney Editions, 2003.
  2. Walt Disney's Nine Old Men and the Art of Animation. New York: Disney Editions, 2001.
  3. Paper Dreams: The Art and Artists of Disney Storyboards. New York: Hyperion, 1999.
  4. Lucy Goes to the Country: Alyson Wonderland, 1998. (Text by Joseph Kennedy, illustrations by John Canemaker).
  5. Before the Animation Begins: The Art and Lives of Disney Inspirational Sketch Artists. New York: Hyperion, 1996.
  6. Tex Avery: The MGM Years. Atlanta: Turner Publishing 1996.
  7. Felix - The Twisted Tale of the World's Most Famous Cat. New York: Pantheon 1991; Da Capo, 1996; Dreamland (French ed.), 1996.
  8. Winsor McCay - His Life and Art New York: Abbeville Press, 1987.
  9. Treasures of Disney Animation Art. New York: Abbeville Press, 1982.
  10. The Animated Raggedy Ann & Andy. Indianapolis/New York: Bobbs-Merrill Co. Inc. 1977.


Folders are arranged alphabetically by subject/author heading.

The files are grouped into seven series.

Accretions are listed at the end of the container list and mirror the original organizational structure of the collection.

  1. Series I: Documentary Material
  2. Series II: Graphic Material
  3. Series III: Book Collection
  4. Series IV: Periodical Collection
  5. Series V: Audio & Video Tape Collection
  6. Oversize - Series I: Documentary Material
  7. Oversize - Series II: Graphic Material
  8. Accretions 2000 - Series I: Documentary Material
  9. Accretions 2000 - Oversize - Series I: Documentary Material
  10. Accretions 2001 - Series I: Documentary Material
  11. Accretions 2001 - Oversize - Series I: Documentary Material
  12. Accretions 2001 - Oversize - Series II: Graphic Material
  13. Accretions 2003 - Series I: Documentary Material
  14. Accretions 2003 - Series II: Graphic Material
  15. Accretions 2003 - Series VI: Major Projects
  16. Accretions 2003 - Oversize - Series II: Graphic Material
  17. Accretions 2008 - Series I: Documentary Material
  18. Accretions 2008 - Series II: Graphic Material
  19. Accretions 2008 - Series III: Book Collection
  20. Accretions 2008 - Series IV: Periodical Collection
  21. Accretions 2008 - Series V: Audio & Video Tape Collection
  22. Accretions 2008 - Series VI: Major Projects
  23. Accretions 2008 - Series VII: Objects
  24. Accretions 2008 - Oversize - Series I: Documentary Material
  25. Accretions 2012 - Series I: Documentary Material
  26. Accretions 2012 - Series IV: Periodical Collection
  27. Accretions 2012 - Series V: Audio & Video Tape Collection
  28. Accretions 2012 - Series VI: Major Projects
  29. Accretions 2012 - Oversize - Series I - Documentary Material
  30. Accretions 2012 - Oversize - Series VI - Major Projects
  31. Accretions 2022

Scope and Content Note

Canemaker began collecting this material in the early 1970's establishing a rich resource devoted to the history, technique, and cultural significance of film animation. The collection has been enlarged with subsequent donations from Canemaker of additional material of historical and contemporary interest. The collection serves the needs both of Canemaker's students at the University's Tisch School ofthe Arts and of all researchers in the history and technique of film animation.

The John Canemaker Animation Collection housed in the Fales Library consists of documentary and graphic materials and is asource of information on personalities and subjects, both American and foreign, important to the history of film animation.

While the collection includes copies of original material dating from the beginnings of film animation at the end of the nineteenth century, the original material concentrates on the late 1970's and the 1980's. Significant portions of the collection relate to Walt Disney and hisstudio, and to Canemaker's own extensive creative and research activity, and publications.


NOTE: The container list has some anomalies that warrant explanation. Items in the original collection have been listed in alphabetical order by subject in precedence over physical location of an item. In other words, box 21, folder 171 may be referred to a number of times because it contains information on a few different persons or films. Functionally, the container list was made into an index/container list in the interest of assisting researchers in finding pertinent material on a particular topic. Initially, new material and indexed material were then inserted into the alphabetical sequence of the series and subseries but maintained in a separate box. The end result is that one will come upon a folder that is not in the same box as the previous item listed in the folder sequence of the series. There are also numerous "see" references within each series' alphabetical sequence.

Beginning with new material received after 2000, Accretions were maintained (See Accretions for 2000, 2001, 2003 and 2008). Here, new material was processed according to the original series-subseries structure, but kept separate from the original collection - no interfiling was done.

SERIES I: Documentary material

Series I consists of documentary material placed either in Subseries A, when it deals with more than one personality or with a general topic in animation, or in Subseries B, when the material is primarily about or by one personality. This is an adaptation of the "auteur" theory in film criticism, which credits the director as the most important creative force behind a film. In film animation, the "auteur" is usually the working animator, but producers, directors, studio owners (e.g., Walt Disney and Walter Lantz) and character voices (e.g., Mel Blanc and June Foray) are also accorded individual attention in this subseries.

Documentary material includes: 1.Manuscript and published versions of interviews with leading personalities in film animation.2. Texts of animation courses.3. Canemaker's research notes on people and films.4. Correspondence.5. Film production/work drafts, budgets, scripts, proposals, action outlines, and other production information.6. Copies or originals of newspaper and periodical articles.7. Flyers, brochures, catalogs, public relations and press releases relating to films, screenings, animation companies and festivals.8. Resumes and biographies.

The material in each folder is arranged chronologically in the following order: correspondence; other related material; newspaper and periodical articles.

Subseries A: Subjects.

The largest amount of material in this subseries consists of programs from animation film festivals and screenings (1967-1987), representing the work of hundreds of animators from around the world. The programs, often richly illustrated, are a useful source for compiling filmographies and for biographical data. Information about foreign film festivals in the International files provides an overview of a particular country's animated film production.

Many illustrated catalogs, issued between 1977 and 1988 by Gallery Lainzberg, Museum Graphics, Sotheby, and others, are included under "Art and Collecting" and provide information about animators and films. Primarily, however, this material is interesting for showing the development of animation art as a "collectible." Catalogs in Subseries A include works of more than one animator; catalogs devoted to one animator are filed under the name in Subseries B.

The Walter Lantz Conference on Animation, sponsored by the American Film Institute in 1987 and 1988, published a volume titled, each year, The Art of the Animated Image, with the subtitle "an Anthology" in 1987 and "Storytelling in Animation" in 1988. John Canemaker edited the 1988 edition. Besides containing transcripts of panel discussions, there are contributions by historians and practitioners of animation.

Material about animation in the United Kingdom, is the largest in the International category and contains items collected during Canemaker's 1979 trip to England.

The Theory and Technique folder contains the text of a 1936 layout training course by Tom Codrick and Charles Philippi; material on an animation seminar at the New School in 1979; and articles relating to technical aspects of animation and the new field of computer animation.

The UCLA Oral History of the Motion Picture in America interviews (1969) have been sorted among the interviewees' folders: Tex Avery, Dave Fleischer, Fritz Freleng, and Richard Huemer. The Huemer folder also contains correspondence Canemaker had with UCLA regarding restrictions on the use of Huemer's interview.

Art Babbitt, a Disney animator, gave a series of lectures in London in July, 1973. There are two copies of these lectures, one on acid-free paper, and five interviews (1971-1979) by Canemaker with this important artist.

John Canemaker's own career as an historian and practitioner of animation spans the years from 1973, when he first visited the Disney Studios, to the animation he created for the 1988 Academy Award winning documentary, YOU DON'T HAVE TO DIE. The general folders also include documentation on Canemaker's military, acting, and university careers (1965-1974). While his journalistic work generally is filed under the subjects and people treated, material from his books and films is included. Series I contains documentary material and Series II, the artwork for the films. In addition to the technical aspects of filmmaking, the materials collected give insight into the problems of financing and the teamwork required to produce a film. The complete screenplay of THE WORLD ACCORDING TO GARP is in this series. Reviews and articles about the films evaluate the results of the enormous effort involved. Donald Crafton's 321-page, 1977 Yale University dissertation on Emile Cohl, a French pioneer of animation, and articles dating from 1937 to 1973 are included.

The Walt Disney material relates to the productions of his studio regardless of animator. Additional Disney material will be found in folders devoted to animators whose careers include work at the studio (e.g., Babbitt, Johnston, Kinney, Klein, Thoams, Tytla). Items in the General folders include articles about Disney and his studio (1932-1985), a 1935 list of books in the Disney Studio Library, and some unsigned letters from Walt Disney to Ub Werks (1928).

Among the richest documentary items about individual films are the analyses of ALICE IN WONDERLAND; inter-office memos about DON QUIXOTE; production/work drafts for DUMBO, FANTASIA, and THE JUNGLE BOOK. Comments by author P.L. Traverson the film script for MARY POPPINS are included. Information on other Disney productions includes release sheets for 21 features, giving credits for films in the period 1940-1985, and a 47 page listing of shorts (titles, dates, plots) from the period 1928-1943.

Oskar Fischinger and his wife Elfriede, early refugees from Nazi Germany, are represented in the collection through letters and items sent to Canemaker by Elfriede Fischinger. Although later acclaimed for his paintings, Fischinger did early work in animation. Included in these folders are copies of letters between Leopold Stokowskiand Fischinger about FANTASIA.

Subseries B: People.

A sampling of the artists is a veritable Who's Who of animation from FELIX THE CAT to ROGER RABBIT: Max and Dave Fleischer, Otto Messmer, Bill Tytla, Richard Williams are a few of the creative talents represented in correspondence, interviews, and other documents in Series I: B.

SERIES II: Graphic material

Series II, which consists of the extensive graphic material Canemaker has collected over the years, has been divided into three subseries according to form in order to facilitate archival storage: artwork, posters, and flip books. Within the subseries, when applicable, materials have been alphabetically arranged by name of animator or creator. Posters have been given a descriptive title and arranged alphabetically in the special collections map case. Other oversize graphic material is also stored in the map case.

Graphic material includes: 1. Storyboards, layouts, cels, frame-by-frame analyses and other artwork used in producing animated films.2. Sketchbooks.3. Non-animation drawings such as caricatures.4. Illustrations used in books about animation.

Subseries A: Artwork.(in Oversize boxes)

Canemaker's collected artwork for the JOHN LENNON SKETCHBOOK, which was commissioned by Yoko Ono, includes copies of 25 drawings made by Lennon. Miscellaneous artwork by Canemaker contains self-portraits, sketchbooks of random work, and early sketches for his films. Storyboards for THE WIZARD'S SON and THE WORLD ACCORDING TO GARP are stored in the map case.

Artwork by other animators includes thirty 20"x40" photostats (map case) of Disney backgrounds, action drawings, story sketches, etc.; illustrations used in TOO FUNNY FOR WORDS, by Frank Thomas and Ollie Johnston; and 6 cels, approximately 70 blue pencil drawings, and eight story sketches for Richard Williams' RAGGEDY ANN and ANDY.

Subseries B: Posters.(in Oversize boxes)

This series includes posters for conferences and festivals which depict favorite cartoon characters.

Subseries C: Flip Books.

The 53 flip books in this series range from early French works to avant garde creations as well as instructions on making flip books.

SERIES III:Book Collection

The book collection is housed in the Fales Library. The books have been catalogued in Bobcat. A keyword or related name search with the name Canemaker will retrieve the records for the books.

SERIES IV: Periodical Collection.

These items are housed in the Fales Library. A list of the periodicals is available in the Reading Room.

SERIES V: Audio and Video Tape Collection.

Both the audio and video materials were originally housed in the Avery Fisher Center for Music and Media. In 2003, the audiotapes were transferred to the Fales Library and Special Collections, as part of the John Canemaker Animation Collection. The videotapes remain in the Avery Fisher Center collection.

SERIES VI: Major Projects(added with 2003 Accretion)

Series VI consists of research materials for major projects by Canemaker. Research notes, interview transcripts, correspondence and other related items used for specific projects by Canemaker are processed together to aid archival retrieval.

Subseries A: "The Art and Flair of Mary Blair"

This subseries includes research notes, interviews and other material related to Canemaker's book "The Art and Flair of Mary Blair."

Subseries B: Vladimir (William) Tytla, "Animation's Michelangelo"

This subseries includes research notes, interviews and other material related to Canemaker's major article on Vladimir Tytla titled "Animation's Michelangelo."

Subseries C: "Walt Disney's Nine Old Men and the Art of Animation"

This subseries includes research notes, interviews and other material related to Canemaker's book "Walt Disney's Nine Old Men and the Art of Animation."

Subseries D: Chuck Jones

This subseries includes research notes, interviews, and other material related to Canemaker's short film "Chuck Jones: Memories of Childhood."

Subseries E: John and Faith Hubley

This subseries includes research notes, correspondence, and other material related to the Academy of Motion Picture Arts and Sciences program "A Salute to John & Faith Hubley."

Subseries F: "The Moon and the Son"

This subseries includes research notes, correspondence, and other material related to Canemaker's Academy Award-winning short film "The Moon and the Son."

Subseries G: "Two Guys Named Joe"

This subseries includes research notes, correspondence, and other material related to Canemaker's book "Two Guys Named Joe."

SERIES VII: Objects(added with 2008 Accretion)

Series VII consists of promotional objects associated with commercial films acquired by Canemaker.

Access Restrictions

Repository permission is required for access. Please contact the Fales Library and Special Collections,, 212-998-2596.

Use Restrictions

Copyright (or related rights to publicity and privacy) for materials in this collection was not transferred to New York University. Permission to use materials must be secured from the copyright holder. Please contact the Fales Library and Special Collections,, 212-998-2596.

Preferred Citation

Published citations should take the following form:

Identification of item, date(if known); The John Canemaker Animation Collection; MSS 040; box number; folder number; Fales Library and Special Collections New York University Libraries.

Location of Materials

Some materials are stored offsite and advance notice is required for use. Please request materials at least two business days prior to your research visit to coordinate access.


The John Canemaker Animation Collection was donated to the Elmer Holmes Bobst Library, New York University, through aformal agreement signed by the Library and John Canemaker on August 18, 1988. Additional material was donated in 1991, 2000, 2001, 2003, 2008, 2012, and 2022.

Physical Characteristics and Technical Requirements

Access copies for some materials are available by appointment for reading room viewing and listening only. Please contact, 212-998-2596.

Born-Digital Access Policies and Procedures

Advance notice is required for the use of computer records. Original physical digital media is restricted. Born-digital materials have not been transferred and may not be available to researchers. Researchers may request access copies. To request that material be transferred, or if you are unsure if material has been transferred, please contact Fales Library and Special Collections,, 212-998-2596 with the collection name, collection number, and a description of the item(s) requested. A staff member will respond to you with further information.

Separated Material

Some 14 video tapes and over 100 audio tapes of interviews, lectures, and seminars were originally donated to the Avery Fisher Center for Music and Media, in Bobst Library, in 1988. In the summer of 2003, the audiorecordings were transferred to the Fales Library where they are now listed as part of the John Canemaker Animation Collection. The videotapes remain in the Avery Fisher Center for Music and Media.

Missing Title

  1. American Cinematographer.Vol. 58, No. 10; October, 1977.
  2. American Film.Vol. 2, No. 8; June 1977.
  3. Animafilm.No. 2, 3, 8, 11; 1980 87 (gaps). Turin, Italy.
  4. Animania.No. 20; February, 1981. Minneapolis, MN.
  5. Animation Magazine.Vol. 1, No. 1, 2 3; August, December, 1987.
  6. Animation Magazine.Vol. 7, 4, Vol 10, 7; 1994-96 (gaps).
  7. Animation Magazine.Vol 10, 9,10, Vol 11, 1; October, November 1996, February 1997.
  8. Animation Magazine.Vol. 19, Issue 7, No. 150; July 2005.
  9. Animator.No. 18; Jan./Mar., 1987. Herts, England.
  10. Animator.No. 29; Fall 1982. Portland, Oregon.
  11. Animator.No. 40; Spring, 1987. Portland, Oregon.
  12. AnimazineNo. 16 20; May 1984-September 1985. Toronto, Canada.
  13. ASIFA San Francisco Newsletter.June 1988.
  14. ASIFA Canada.Vol 24, No. 2; September 1996..
  15. Banc-Titre.No. 19; 1982. Paris, France.
  16. Cartoonist Profiles.No. 46, 47, 74, 75; 1980 87 (gaps). Westport, CT.
  17. Cinefantastique.Vol. 5, No. 3 (n.d.).
  18. Cinefantastique.Vol. 28, No. 12; June, 1997.
  19. Cinema.Vol. 1, No. 3; September/October 1996. Brazil.
  20. Cinemagic.No. 36 (n.d.).
  21. Collectibles Illustrated.Vol. 2, No. 1; Jan./Feb. 1983.
  22. Collectors' Showcase.Vol. 15, No. 4, Vol. 16, No. 1,7, Vol. 17, No. 1,6; August/September 1995, February/March, November 1996, January/February, November/December 1997.
  23. Collectors' Showcase.Vol. 16, No. 6,7; September, November, 1996.
  24. Crain's New York Business.Vol. 13, No. 1; January 6-12, 1997.
  25. Daily Variety.75 Years of Disney Magic; June 26, 1998.
  26. Diamond Dialogue.July, 1993, February, 1996.
  27. Disney Magazine.Fall 1996, Winter 1998-1999.
  28. Disney Magazine.Winter 1997-1998.
  29. Disney News.Winter 1983, Summer 1987, Fall 1987, Winter 1989.
  30. En Coulisse.No. 9; March 1994. France.
  31. Entertainment Weekly.No. 354; November 22, 1996.
  32. Film Comment.Vol. 21, No. 6; December 1985.
  33. Film Fan Monthly.. No. 68, 79, 87, 89, 104, 130, 133 4, 145 6, 168; 1967 75 (gaps). Teaneck, NJ.
  34. Film 1/24.(n.d.). Japan.
  35. Film Library Quarterly.Vol. 10, No. 1/2, Vol. 11, No. 4; 1977-1978 (gaps).
  36. Film Quarterly.. Vol. 31, No. 2; 1977 8.
  37. Filmmakers Newsletter.Vol. 7, No. 3,6,8; Vol. 8, No. 3; 1974-1975 (gaps). New York, NY.
  38. Funnyworld.No. 15, 17, 18, 20, 21, 23; 1973 83. Little Rock, AR.
  39. Get Animated!No. 2,4; April 1985, September 1985.
  40. Get Animated! Update.No. 2, 4; December 1986, February 1987. Burbank, CA.
  41. Graffiti/In-between/The InBetweener (ASIFA).Sept. 1979-Feb. 1984 (gaps).
  42. Heavy Metal.Vol. 5, No. 5.; August 1981.
  43. Holland Animation Bulletin.Summer 1978, 1981. The Hague, Netherlands.
  44. Hollywood Reporter.. Vol. 301, No. 15; February 25, 1988.
  45. Horizon.Vol. 23, No. 3; March 1980.
  46. How.Summer 1978, 1981. Vol. 1, No. 3, 4, 5; March/April - July/August 1986.
  47. How.Vol. 2, No. 1, 5; November/December 1986, July/August 1987.
  48. How.Vol. 2, No. 6, Vol. 3, No. 3, 5; September/October 1987, March/April 1988, July/August 1988.
  49. The InBetweener.Vol. 2, No. 3; April 1984.
  50. Japan Pictorial.Vol. 5, No. 2; 1982. Tokyo, Japan.
  51. Kodak Professional Forum.Vol. 6, No. 1; 1983.
  52. Kodak Professional Forum.Vol. 6, No. 1 (1983), Vol. 6, No. 1 (1984), Special Animation Issue, 1980 (mult. copies of each).
  53. Mad.No. 8 (reprint); n.d.
  54. Magical Moments and Memories.No. 12; Summer 1996.
  55. Millimeter.Vol. 3, No. 1, 4, 7/8, 9, 10, 12; January - December 1975 (gaps).
  56. Millimeter.Vol. 4, No. 2, 4, 6, 9, 10; February - October 1976 (gaps).
  57. Millimeter.Vol. 5, No. 2, 5, 7, 9; February - October 1977 (gaps).
  58. Millimeter/Funnyworld.Vol. 5, No. 2 (2 copies), No. 23; February 1997, Spring 1983.
  59. Millimeter.Vol. 6, No. 2; Vol. 7, No. 2; Vol. 8, No. 2; Vol. 9, No. 2; February 1978 February 1981 (gaps)..
  60. Mindrot.No. 3, 5, 6, 7 13; 1976 78 (gaps). Minneapolis, MN.
  61. New York University Magazine.Vol. 4, No. 2; Fall 1989.
  62. Newscaster.Vol. 24, No. 8; August 1984.
  63. Newsreel.Vol. 27, No. 10,11,12; March 1998.
  64. Pegboard.Vol. 27, No. 3,7; March 1998, July 1998. Los Angeles, CA.
  65. Peg-Board.(Motion Picture Screen Cartoonists). Vol. 9, No. 2; 1978. Hollywood, CA.
  66. Persistence of Vision.No. 8; 1996. Salt Lake City, UT.
  67. Pop Art Times.March 1995.
  68. Print.Vol. 32, No. 5, 6; September/October 1978, November/December 1978.
  69. Print.Vol. 33, No. 2; Vol. 34, No. 6; Vol. 35, No. 5; March/April 1979, November/December 1980, September/October 1981.
  70. Print.Vol. 36, No. 2; Vol. 37, No. 2; Vol. 38, No. 2; March/April 1982, March/April 1983, March/April 1984.
  71. Print.Vol. 38, No. 5, Vol. 41, No. 3; September/October 1984, May/June 1987.
  72. Print.Vol. 41, No. 5, 6; September/October 1987, November/December 1987.
  73. Print.Vol. 42, No. 1, Vol. 44, No. 5; January/February 1988, September/October 1990.
  74. Private Screenings.Vol. 1, No. 1; April/May 1975. Irvine, CA.
  75. Relay.No. 2, Vol. 3, No. 2; October, 1982; May, 1984. Reseda, CA.
  76. Sightlines.. Vol. 12, No. 2, 4; Vol. 18, No. 4/Vol. 19, No. 1; Vol. 19, No. 2, 3/4; 1978/9-1986 (gaps).
  77. Sightlines.. Vol. 20, No. 2, 3, 4/Vol. 21, No. 1; Vol. 21, No. 2; 1986/7 1987/8 (gaps).
  78. Sketches (Magazine of Walt Disney Collectors Society).Vol. 5, No.1; 1997.
  79. Storyboard.Vol. 1, No. 1, 2, 4, 5; 1987 88 (gap). Anaheim Hills, CA.
  80. Striprofiel.No. 5; Winter 1978/9. Amsterdam, Holland.
  81. Take One.Vol. 7, No. 5; 1978..
  82. Tomart's Disneyana Update.No. 7; 1995.
  83. Twilight Bark (Walt Disney Feature Animation Department Newsletter).Vol. 9, No. 2,3; January, 1997.
  84. White's Guide to Collecting Figures.Vol. 1, No. 11; November 1995.
  85. Zoetrope.No. 3; March 1979. Chicago, IL.


Missing Title

  1. Adamson, Joe. The Walter Lantz Story.New York: Putnam's Sons, 1985.
  2. American Film Institute Factfile #3: Film/Video Festivals and Awards.Los Angeles: AFI, 1983.
  3. Animated Cartoons for the Beginner.Walter Foster Art Books, No. 25.
  4. Annan, David. Movie Fantastic: Beyond the Dream Machine.[]: Bounty Books, 1974.
  5. Basic Titling and Animation for Motion Pictures.Eastman Kodak Company, 1972.
  6. Beckerman, Howard. Animation the Whole Story.New York: Amereon House, 2001.
  7. Benayoun, Robert. Le Dessin Anime Apres Walt Disney.Paris: Jean-Jacques Pauvert, 1961.
  8. Blair, Preston. Animation.Walter Foster Art Books, No. 26.
  9. Body, Veruschka. Clip, Klapp, Bum.Koln: DuMont, 1987.
  10. Boxer, Sarah. In the Floyd Archives: a Psycho-Bestiary.New York: Pantheon Books, 2001.
  11. Breslauer, Jan. The Making of the Rugrats Movie.Los Angeles: Klasky Csupo Publishing, 1998.
  12. Canemaker, John. The Animated Raggedy Ann and Andy.New York, Bobbs-Merrill, 1977. [Signed copy]
  13. Canemaker, John. Felix: The Twisted Tale of the World's Most Famous Cat.New York, Pantheon Books, 1991. [Signed copy]
  14. Canemaker, John. Windsor McCay, His Life and Art.New York, Abbeville Press, 1987. [Signed copy]
  15. Canemaker, John. Windsor McCay, His Life and Art (Revised and Expanded Edition).New York: Harry N. Abrams, 2005. [Signed copy]
  16. Chevalier, Denys. J'aime le Dessin anime.Lausanne, Editions Recontre, 1962.
  17. Cohen, Santiago. The Fifth Name.Washington: Fantagraphics Books, [n.d.]
  18. Crowdus, Gary. Ed. The Political Companion to American Film.Chicago: Lakeview Press, 1994.
  19. Daly, Kathleen N. Raggedy Ann and Andy.Indianapolis/New York: Bobbs-Merrill, 1977.
  20. Diamant, Lincoln. Television's Classic Commercials.New York: Hastings House, 1971.
  21. Dohler, Don. Stop Motion Animation.Baltimore: Cinema Enterprises, 1980.
  22. Edera, Bruno. Full Length Animated Feature Films.New York: Hastings House, 1977.
  23. Feild, Robert D. The Art of Walt Disney.New York: Macmillan, 1942.
  24. Frames: A Selection of Drawings and Statements by Independent American Animators.George Griffin/Capitol Cities Press, 1978.
  25. Grimault, Paul. L'EpouvantailParis: Gallimard, 1946.
  26. Halas, John. Art in Movement: New Directions in Animation.New York: Hastings House, 1970.
  27. Halas, John. Film and TV Graphics.Zurich: Graphis Press, 1967.
  28. Halas, John & Rider, David. The Great Movie Cartoon Parade.New York: Bounty Books, 1976.
  29. Halas, John. Masters of Animation.Topsfield, MA: Salem House, 1987. [Annotated on notes]
  30. Halas, John. The Technique of Film AnimationNew York: Hastings House, 1959.
  31. Halas, John. Visual Scripting.New York: Hastings House, 1976.
  32. Hall, Edward T. Hidden Differences: Studies in International Communications: Japan for Americans.New York: Hall Assoc., 1987.
  33. Hall, Patricia. Johnny Gruelle, Creator of Raggedy Ann and Andy.Louisiana: Pelican Publishing Company, Inc., 1993.
  34. Harryhausen, Ray. Film Fantasy Scrapbook.London: Barnes and Co., 1974.
  35. Hayward, Stan. Scriptwriting for Animation.New York, Hastings House, 1977.
  36. Herdeg, Walter. Film and TV Graphics 2.Zurich: Graphis Press, 1976.
  37. Hogarth, Burne. Dynamic Figure Drawing.New York: Watson-Guptill, 1970.
  38. Jacobs, Lewis. The Emergence of Film Art.New York: Hopkinson and Blake, 1969.
  39. Jouvanceau, Pierre. Le Film de Silhouettes. / The Silhouette Film.Geneva: Le Mani, 2004.
  40. Jungstedt, Torsten. Kapten Grogg och hans vanner.Stockholm: Svergiges Radios forlag, 1973. Includes separate english summary.
  41. Kanfer, Stefan. Serious Business: The Art and Commerce of Animation in America from Betty Boop to Toy Story.New York: Scribner, 1997.
  42. Karlsson, Ewert W. Great Figures of the World.Connecticut: Meckler Books, 1988.
  43. Kelly, Walt. The Pogo Stepmother Goose.New York: Simon and Schuster, 1954.
  44. Kukes, Roger. The Zoetrope Book.Portland, OR: Klassroom Kinetics, 1987.
  45. Levitan, Eli. Animation Techniques and Commercial Film Production.New York: Reinhold, 1962.
  46. McMahan, Harry Wayne. The Television Commercial: How to Create and Produce Effective TV Advertising.New York: Hastings House, 1954. Also 1957 edition.
  47. Macek, Carl. The Art of Heavy Metal: The Movie.New York: Zoetrope, 1981.
  48. Maltin, Leonard. The Disney Films.New York: Crown Publishers, 1973. [Presentation copy]
  49. Manvell, Roger. Art & Animation: the Story of Halas & Batchelor Animation Studio 1940/1980.New York: Hastings House, 1980.
  50. Martin the Cobbler.Minneapolis, MN: Winston Press, 1982.
  51. Nilsen, Vladimir. The Cinema as a Graphic Art.New York: Hill and Wang, [n.d.]
  52. O'Day, Tim. Disneyland--Celebrating 45 Years of Magic.New York: Roundtable Press, 2000.
  53. Perisic, Zoran. The Animation Stand.New York: Focal Press, 1976.
  54. Perisic, Zoran. The FocalGuide to Shooting Animation.London and New York: Focal Press, 1978.
  55. Rubin, Susan. Animation: The Art and the Industry.Englewood Cliffs, NJ: Prentice-Hall, 1984.
  56. Searle, Ronald. Dick Deadeye.New York and London: Harcourt Brace, 1975.
  57. Solomon, Charles. The Complete Kodak Animation BookRochester: Eastman Kodak, 1983.
  58. Stockton, James. Designer's Guide to Color.San Francisco: Chronicle Books, 1984 .
  59. Toby. Silent Night with the Family Von Mouse.Hollywood, CA: Bluth Brothers/Pollinator, 1977.
  60. Treasures of Disney Animation Art.Introduction by John Canemaker. New York: Abbeville Press, 1982. [Signed copy].
  61. Trinchero, Sergio. I grandi eroi del cartone animato Americano.Roma: Ernesto Gremese, 1972.
  62. Trudeau, Garry. A Doonesbury Special.Kansas City: Sheed Andrews and McMeel, 1977.
  63. Walt Disney Presents The Jungle Book.New York: Golden Press, 1967.
  64. Walt Disney's Bambi.Adapted by Melvin Shaw. New York: Golden Press, 1949.
  65. Walt Disney's Fantasie da Fantasia.Milan: Arnoldo Mondadori Editore, 1989.
  66. Walt Disney's Ferdinand the Bull.Racine, WI: Whitman Publishing, 1938.
  67. Walt Disney's Mickey Mouse.Printed by Howard Bayliss, 1971.
  68. Wentz, Budd. Paper Movie Machines.San Francisco: Troubador Press, 1975.
  69. White, Tony. The Animator's Workbook.New York: Watson-Guptill, 1986.
  70. Yoe, Craig & Morra-Yoe, Janet. The Art of Mickey Mouse.San Francisco: Chronicle Books, 1984 .
  71. Yoshitaka Amano & Hiroshi Unno Alice Erotica.Tokyo: 1999.

Collection processed by

Robert A. Landau (1992). Updated: Daniel Sokolow (1997), Michael Zimmer (2003-2004), YZ Chin (2008), and Timothy M. Woitas (2013).

About this Guide

This finding aid was produced using ArchivesSpace on 2024-02-06 14:09:19 -0500.
Language: Description is in English.

Processing Information note

In March 2016, boxes from Oversize: Series II and all Accretions were renumbered to numerically follow Series I. Researchers with citations to previous box numbers may contact for assistance with identifying new box numbers.

In March 2019, published books and other printed material donated with the collection were processed and added to Series III.

In July 2022, an accretion was rehoused into archival boxes and folders, and established as its own series with a box-level inventory. Born-digital items were identified, physically separated, and inventoried, but have not yet been forensically imaged, analyzed, or described. New York University Libraries follow professional standards and best practices when imaging, ingesting, and processing born-digital material in order to maintain the integrity and authenticity of the content.

Revisions to this Guide

March 2017: Edited by Weatherly Stephan to reflect incorporation of processed books

Edition of this Guide

This version was derived from Canemaker Revised.doc (2000)


Fales Library and Special Collections
Fales Library and Special Collections
Elmer Holmes Bobst Library
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