Introduction to “A Rankin/Bass Retrospective From a New Perspective”
Rankin/Bass’ iconic blue logo that would play after their specials. Notice how the rectangle and two dots form a lowercase “r” for Rankin and an uppercase “B” for Bass.
For the last few years, I have had a focus on studying the works of some of the most famous and beloved animation studios from around the world to widen my creative span, and learn the dos and don'ts of a superb animated production. Studios such as Pixar and Studio Ghibli have produced phenomenal works and are widely known to be the cream of the crop of both animation and storytelling. However, deep pockets and mainstream appeal has made these studios’ films known far and wide. I love to go deep diving into the annals of animation and discover shockingly hidden gems. The works I am going to discuss throughout my next essays are particular favorites of mine that have inspired my creations and ideas the most, and they come from what used to be the King of stop-motion animation and holiday nostalgia. Or should I say. . . the “King of Jingaling”?
This production company was founded by two peculiar men by the names of Arthur Rankin Jr. and Jules Bass. Of course I am talking about the one and only Rankin/Bass Animated Entertainment.
An illustration from Rankin/Bass character designer Paul Coker Jr. including a small handful of Rankin/Bass characters, such as Santa Claus, Mrs. Claus, Rudolph, Frosty the Snowman, and the Miser Brothers.
For those of you scratching your heads, Rankin/Bass (originally known as Videocraft International and Rankin/Bass productions) was an American animation production company that released some of the most iconic, in many ways underrated, stop-motion animated films and television specials ever. These include beloved titles such as Rudolph the Red-Nosed Reindeer, Santa Claus is Comin’ to Town, and The Year Without a Santa Claus. The company was founded by partners art director Arthur Rankin Jr. (1924-2014) and composer/businessman/advertising expert Jules Bass (1935-present) in 1960, and began creating children’s programming using a unique form of stop-motion from Japan, that Rankin Jr. called “Animagic”.
A commercial created by Tadahito Mochinaga for Asahi, Japan’s most popular brand of beer. It is one of the earliest surviving pieces of media using Animagic stop-motion.
“Animagic” was a form of stop-motion in which precisely-crafted, toy-like puppets made out of numerous materials were slightly moved in between shots, frame by frame, to create life-like movement and action. The method was composed by Japanese-Chinese artist and animator Tadahito Mochinaga (1919-1999), who had an eventful life and used the artform to create multiple commercials for Japanese products such as Asahi Beer.
When Arthur Rankin Jr. discovered the animation style and traveled to Japan to tour Mochinaga’s studio, he knew it was capable of catching on with American television viewers. He became good friends with Mochinaga, and Rankin/Bass ended up producing their first Animagic project, a children’s program called The New Adventures of Pinocchio, which had its cinematography and animation supervised by Mochinaga. Because Disney’s Pinocchio was Rankin Jr.’s favorite animated film, it is likely he chose the popular story to be the first Rankin/Bass work.
The title screen for “The New Adventures of Pinocchio”, Rankin/Bass’ very first project and use of Animagic stop-motion. The show had over one hundred episodes, each lasting approximately five minutes long. Today, it is considered to be an obscure piece of media.
A majority of Rankin/Bass’s animation, both stop-motion and hand-drawn, was outsourced to Japan (which means a lot of people have considered the specials to be anime), while everything else, like the writing, music, and voice recording were done in the United States in Canada. The specials were done on low budgets, and were extremely labor intensive when it came to the animation. The Japanese stop-motion animators and designers (many of whom have been unfortunately uncredited and forgotten) had to spend whole nights in the studios and be extremely detailed and precise to prevent having to redo a shot or scene, which could take hours, or even days to complete.
Few animation studios have caught my interest and imagination as well as Rankin/Bass. With their range of memorable characters voiced by the most notable names of the time, stories all ages can enjoy together, and a stilted, but charming and unique animation style that is nearly impossible to replicate in full, it is an unforgettable name in the industry. Their specials have influenced the animation studios that grace the industry today, and have shaped how young and old visualize and celebrate the holiday season.
However, since Rankin/Bass went defunct in 1987, and the final holiday special they produced came out in 2001, their name and aesthetic has faded in the public’s memory. Today, most of our sources about Rankin/Bass can be located mainly online and through limited sources from animation historians. I was deeply disappointed when most of the sources I could find on the studio and their films stated nothing but repetitive, obvious, and unreliable information.
As with most media projects, the Rankin/Bass creations are “of their time” and reflect the male-dominated industry and outlook of its time. The holiday specials resonate most with those Americans who grew up in the 60’s through the 80’s, and viewpoints of inclusion and diversity have greatly evolved since then. If the positive aspects, charms, and history of Rankin/Bass and their specials are going to be preserved, a progressive voice should be used to both raise the positive qualities of the iconic pieces, as well as shine a light on their visible flaws.
In this new Citizen Jane essay series, I will look at four particular Rankin/Bass animagic specials (as well as an extra from a different studio for fun) from a modern point of view, and discuss some of their deepest messages, secrets, and fun facts.
I have been an avid fan of Rankin/Bass for many years, and am looking forward to sharing my enthusiasm for this distinctive art form and American cultural touchstone that means a lot to me. In days when new technologies in animation come at a fast pace, I am enthusiastic about sharing my thoughts on these pieces that were created with emotion, patience, and a whole hodgepodge of creative materials. This is:
A Rankin/Bass Retrospective From a New Perspective
Featuring five reviews and analyses:
Rudolph the Red-Nosed Reindeer (1964)
Santa Claus is Comin’ to Town (1970)
The Year Without a Santa Claus (1974)
Jack Frost (1979)
A Miser Brothers’ Christmas (2008)