美国抽象动画导演斯塔普的作品集，收录他的4部短片，45分钟，VHS。 Butterflies: Homage à Francois Couperin (1978) 2:33 - Also known as "Butterflies". A 3-minute fantasy of butterflies and dragonflies cavorting amongst the pussywillows, Japanese-inspired animation accompanied by two variations on keyboard works by the Baroque composer. Uses a pointillist technique to provide a stroboscopic illusion where recognizable shapes become fluid abstractions, and where time is stretched to reveal the main patterns of the choreography. Exhibits a visual haiku wherein an invisible air current stirs the leaves of grass and blows back the butterflies. Picture In Your Mind (1948) 16:16 - Sent by the U.S. government as a participant in the Marshall Plan with a specific mission to assist the French in re-gearing their animation studios, Stapp discovered a Europe much-decimated by war, but in further danger of annihilation by nuclear weapons. Returning to the U.S., he produced this alarming-yet-hopeful film, replete with its lonely, Tanguy-inspired landscapes peopled with static figures casting long shadows across charcoal-colored plains. While taking the risk of leaning a bit toward didacticism, Stapp managed to urgently convey the thought that world destruction was not necessarily inevitable, provided that people embrace, rather than reject their cultural and racial differences. 'Picture' is a unique document resulting from the sometimes dreamy, sometimes nightmarish vision of the artist in a war-torn land, with the spectre of death hovering ever-so-slightly ahead. Symmetry (1966) 10:40 - In perhaps his greatest film, Stapp's stylized and pointillist-inspired abstract images dance in a surrealist floating world reminiscent of Japanese "ukiyo-e" illustration, the "stage" seen from three perspectives (overhead, direct, and diagonal), the figures continually rotating, dividing, and converging. Water (1961) 13:50 - Produced by the United Nations, this utopian view of international cooperation over water rights was written and animated by Stapp, combining small amounts of live-action footage with artistically-treated still photography and Stapp's pointillist-inspired floating images.