El Mono relojero is a 1938 Argentine animated short film directed by Quirino Cristiani. It is the only film from this director that exists up to this day, since all his other productions (including the first two animated feature films, El Apóstol (1917) and Sin dejar rastros (1918), as well as the first animated film with sound, Peludópolis (1931)) were lost in a series of fires at the facilities where the negatives and copies were stored; Sin dejar rastros was confiscated on the day of its premiere, and is believed to have been immediately destroyed. El mono relojero was saved from the fires because, by chance, the author of its script Constancio C. Vigil had a copy of his own.
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| - El Mono relojero (en)
- El mono relojero (es)
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| - El Mono relojero is a 1938 Argentine animated short film directed by Quirino Cristiani. It is the only film from this director that exists up to this day, since all his other productions (including the first two animated feature films, El Apóstol (1917) and Sin dejar rastros (1918), as well as the first animated film with sound, Peludópolis (1931)) were lost in a series of fires at the facilities where the negatives and copies were stored; Sin dejar rastros was confiscated on the day of its premiere, and is believed to have been immediately destroyed. El mono relojero was saved from the fires because, by chance, the author of its script Constancio C. Vigil had a copy of his own. (en)
- El mono relojero es una película de animación de Argentina en blanco y negro dirigida por Quirino Cristiani según guion de Constancio Vigil con adaptación de Eleazar P. Maestre sobre el cuento homónimo de Vigil que se estrenó el 10 de febrero de 1938. Las voces y otros sonidos fueron realizados por el actor Pepe Iglesias. Federico Ribas, un dibujante español, tuvo a su cargo la creación de los personajes, Eglantina Villalba hizo los decorados, con la colaboración de Rosarivo y Kras, Juan Oliva y Bogoslav Petanjek, conocido como "Kayser", quienes tuvieron a su cargo la animación y Luis Quirino Cristiani -por entonces de 20 años-, hizo las tomas. La música y la sonorización eran de José Vázquez Vigo, quien ya había trabajado en Peludópolis. Fue premiada por la Municipalidad de la ciudad de (es)
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- El Mono relojero (en)
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| - El Mono Relojero by Constancio C. Vigil (en)
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| - El Mono relojero is a 1938 Argentine animated short film directed by Quirino Cristiani. It is the only film from this director that exists up to this day, since all his other productions (including the first two animated feature films, El Apóstol (1917) and Sin dejar rastros (1918), as well as the first animated film with sound, Peludópolis (1931)) were lost in a series of fires at the facilities where the negatives and copies were stored; Sin dejar rastros was confiscated on the day of its premiere, and is believed to have been immediately destroyed. El mono relojero was saved from the fires because, by chance, the author of its script Constancio C. Vigil had a copy of his own. The film premiered in Buenos Aires. It was intended to be the first of a series of animated adaptations of the children's books written by Vigil, but differences between him and Quirino Cristiani, who possessed a willful streak, prevented the production of subsequent installments. El mono relojero was not especially representative of the filmography of Quirino Cristiani. The film's themes and style were clearly Vigil's, and it was one of the few directed by Cristiani to lack the element of political satire. (en)
- El mono relojero es una película de animación de Argentina en blanco y negro dirigida por Quirino Cristiani según guion de Constancio Vigil con adaptación de Eleazar P. Maestre sobre el cuento homónimo de Vigil que se estrenó el 10 de febrero de 1938. Las voces y otros sonidos fueron realizados por el actor Pepe Iglesias. Federico Ribas, un dibujante español, tuvo a su cargo la creación de los personajes, Eglantina Villalba hizo los decorados, con la colaboración de Rosarivo y Kras, Juan Oliva y Bogoslav Petanjek, conocido como "Kayser", quienes tuvieron a su cargo la animación y Luis Quirino Cristiani -por entonces de 20 años-, hizo las tomas. La música y la sonorización eran de José Vázquez Vigo, quien ya había trabajado en Peludópolis. Fue premiada por la Municipalidad de la ciudad de Buenos Aires. Fue la primera película animada de Argentina con sonido óptico. Cristiani dejó de lado la técnica que había utilizado hasta entonces, de , y utilizó la moderna con acetatos, para lo cual Cristiani construyó y patentó una mesa de animación con un fanoscopio -un vidrio opaco con una luz debajo- capaz de girar en el plano de la mesa, que hacía el trabajo más fácil. (es)
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