- L'Epouvantail. 1921. 12 minutes.
- Les Grenouilles qui demandent un roi. 1922. 20 minutes.
- Amour noir et blanc. 1923. 15 minutes.
- Les Yeux du dragon. 1925. 13 minutes.
- Le Rat des villes et le rat des champs. 1926. 10 minutes.
- La Cigale et la fourmi. 1927. 17 minutes.
- La Reine des papillons. 1927. 20 minutes.
- Le Roman de renard. 1929-1930. 65 minutes.
- Le Lion et le moucheron. 1932. 10 minutes.
- Le Lion devenu vieux. 1932. 10 minutes.
- Fétiche mascotte. 1933. 20 minutes.
- Fétiche prestidigitateur. 1934. 12 minutes.
- Fétiche se marie. 1935. 10 minutes.
- Fétiche en voyage de noces. 1936. 10 minutes.
- Fétiche chez les sirènes. 1937. 17 minutes.
- Zanzabelle à Paris. 1947.
- Fleur de fougère. 1949. 25 minutes.
- Gazouilly petit oiseau. 1953. 13 minutes.
- Gueule de bois. 1954. 16 minutes.
- Un Dimanche de Gazouilly. 1955. 13 minutes.
- Nez au vent. 1956. 13 minutes.
- Carrousel boréal. 1958. 13 minutes.
- Comme chien et chat. 1965. 3 minutes.
- Fétiche 33-12. 2012.
Strashnaya myest : Médaille d’or lors de l’exposition universelle de Milan, 1913
Golos solovya : Prix Hugo Riesenfeld du meilleur court métrage aux États-Unis en 1925.
Biography
Although his name nowadays means very little except to animation buffs (and even they have to be pretty well informed), Wladyslaw Starewicz ranks alongside Walt Disney, as one of the great animation pioneers, and his career started nearly a decade before Disney's. He became an animator by accident - fascinated by insects, he bought a camera and attempted to film them, but they kept dying under the hot lights. Stop-motion animation provided an instant (if slow) solution, and Starewicz discovered that he had a natural talent for it. He subsequently made dozens of short films, mostly featuring his trademark stop-motion puppets, but also live action films (some blending live action and animation), moving to France after the Russian Revolution to continue his career. His longest and most ambitious film was the feature-length 'Tale of the Fox', which took ten years to plan and eighteen months to shoot. Starewicz' films were virtually one-man shows (writer/director/cameraman/designer/animator), though other important contributions (in front of and behind the camera) were made by his daughters.
- IMDb Mini Biography By: Michael Brooke
Wladyslaw Starewicz, a grand master of animation, was one of the directors of Lovno Museum of Natural History and graduate of the St. Petersburg Academy of Fine Arts. He began making puppet films about 1911 (see 'Mest finematograficheskogo operatou'), emigrated to France in 1920 and continued to develop there his technique for plastic animation with the help of his two daughters, Irene Starewicz and Nina Star, whose birth-name was Jeannie Starewicz. He, with the help of his daughters, in front of and behind the camera, employed articulated puppets constructed with an extraordinary precision, with features that could be altered at will (with stop-motion)to produce any desired expression, and dressed in costumes designed with great attention to detail. He filmed laboriously, frame by frame, and produced some of the most fantastic storybook characters and tales ever seen on the screen.
- IMDb Mini Biography By: Les Adams
https://www.imdb.com/name/nm0823088/bio?ref_=nm_ov_bio_sm