The collection at Stanford contains artifacts from the beginning of Moreno's career at the animation studios in 1928 through
his family work in the early 1990s. The collection contains photographs of the staff members at the early animation studios,
lists of the shorts made by different studios, drawings from some of the work produced by them, as well as the screenplay
for one of the shorts. There are letters of recommendation for Moreno from different studios in the 1920s and 1940s. There
is a documentation of the work Moreno did in Mexico with his Caricolor Studio, including a poster for "Me Voy de Cacería".
There are also newspaper clippings from both the US and Mexico. The collection has a record of Moreno's correspondence with
family and business partners from 1942 until 1947. These are arranged chronologically rather than by subject because many
of Moreno's business and personal letters are related. Moreno's extensive notes and drawings for a book he planned to publish
in Spanish on animation are included in their entirety in the collection. Cells, drawings, plans and ideas for amateur movies
Moreno created for his family are also a part of the collection. Artwork associated with Moreno's promotion of his business,
Professional Color Service is also contained in the collection. In addition, an interview Moreno gave to researchers about
the beginning of the animation industry is included.
Manuel M. Moreno was a Mexican American who worked in the Animation industry while it was just starting up. He began working
in Winkler's Animation Studio in 1928. He was an in-betweener (below the rank of assistant animator). Winkler's Studio had
a contract with Universal pictures, and while he was working for them he learned more about the business and worked himself
up to the rank of assistant animator. He was hired by Winkler at age 18 on the strength of a few samples of Moreno's cartoon
work. Moreno had learned a little about cartooning from a correspondence course. Through the 1930s until the early 1940s Moreno
worked as an animator and even a director for cartoons done at different studios, such as Walter Lantz's production company
and MGM studios. In 1941 he left the US animation industry to take over his brother, George's, photo-processing store when
he was drafted. Because of WWII, supplies to run the shop were impossible to come by, so Manuel ended up liquidating the store.
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