Editing Berthold Bartosch (section)

==Work in Paris==
In 1930 Bartosch moved to [[Paris]] and created the 30 minute film entitled 'L'Idée' (''[[The Idea (1932 film)|The Idea]]'') for which he is most remembered. The film is described as the first serious, poetic, tragic work in animation. The film's characters and backdrops were composed of several layers of different types of [[paper]] from semi-transparent to thick [[Paperboard|cardboard]]. Special effects like [[wiktionary:halo|halos]], smoke and fog were made with [[Foam|lather]] spread on glass plates and lit from behind. Bartosch based the film on a [[wordless novel]] of [[woodcut]]s by [[Frans Masereel]], ''[[The Idea (wordless novel)|The Idea]]'' (1920).

''L'idee'', when released in 1933, featured a score by composer [[Arthur Honegger]], including an [[ondes Martenot]], which is believed to be the very first use of an electronic musical instrument in film history. The following year, [[Franz Waxman]]'s score for ''[[Liliom (1934 film)|Liliom]]'' (1934) used a [[theremin]].

From 1933 to 1938, Bartosch worked on an anti-war film, ''St. Francis'' or ''Nightmare and Dreams'', a 25-minute piece being financed by [[Thorold Dickinson]]. When the [[Nazis]] invaded Paris, he deposited the film at the [[Cinémathèque Française]]. The film was destroyed during the Nazi occupation, and only a few still images exist.

In 1948, he spent a year working for [[UNESCO]] in Paris mentoring [[George Dunning]], a Canadian-born animator known for his involvement with [[the Beatles]]'s animated feature, ''[[Yellow Submarine (film)|Yellow Submarine]]'' (1968).