It was in Utopia Parkway, that I first encountered the use of replacement animation in such a playful manner. The technique, introduced by George Pal around 1930, had originally served the aims of representational filmmaking by making the faces of puppets appear more “lifelike“. Joanna Priestley expanded it into the realm of the experimental. But I was also fascinated by the multiple divisions of the image and the blending of widely varying techniques.
(Thomas Renoldner)