With her deadline fast approaching, Mimi the cat panics across the vast halls of a tech company on a mission to gain approval from her uncaring superiors.

All alone, Yellow Guy tries to stop a lamp from teaching him about dreams. While Red Guy finds out the truth about the puppets' existence.

A young girl who treated her pets as comrades and liked to play with construction blocks, experiences her life changing after the dissolution of the Soviet Union.

Spike's owner is going out of town and leaves Spike and Tyke in charge.

An orange cat lets it be known that it hates dogs. When the cat runs across a big mean looking bull dog, the cat does whatever it can to avoid the wrath of the dog while tormenting it. The cat comes across a device which lets it throw its voice, which the cat uses to trick the dog into thinking it's where it's not really located. Ultimately, the cat uses the device to turn another group of canines against one of their own. But the cat's action has an unforeseen consequence against itself.

We take a tour of Porky's Poppa's farm, to the tune of Old MacDonald. After meeting several animals, "on this farm, he has a mortgage" which he frets over, particularly since Bessie has stopped producing milk. Poppa orders an Acme milk producing robot, and the beast vs. machine battle is on.

Puppet animation of Bert Ambrose and His Orchestra performing. A Puppetoon animated short film.

In Ub Iwerks' The Frog Pond, many frogs are singing and having a good time until a big bully frog takes some food and basically orders a house built on his lily pond.

Betty Boop goes to work on the subway (Trample 'Em R.R. Co.); Pudgy the Pup follows her and gets more ride than he bargained for.

The mice are on the loose after hours in a doctor's office, playing with the various pieces of medical apparatus. Susie Mouse is caged for research until her lover Johnnie frees her. A mouse orchestra plays a swinging wedding song. But throughout, a cat is stalking...

Porky Pig works hard on his farm all year. On a neighboring farm, a bear lazes around and allows his animals to be idle. The winter comes, and he has nothing to eat.

The mouse, tired of being chased by the cat, convinces him there's no reason for it, and that the cat should talk to the dog and convince him too. The talks are not successful...

Porky introduces a newsreel of wartime spot gags, including a spoof of the RKO Pictures logo, and caricatures of Jack Benny and Rochester.

Barney's settling in for the winter. But water leaks, a loose shutter, a noisy fire, a teakettle left on, and some stray embers all get in the way, and Barney also locks himself out. And that's just the beginning.

Emily the chicken lives in Hickville but dreams of Hollywood. Her chance comes when director J. Megga-Phone happens to drive past and gives her his card.

A determined bird goes out early to hunt for a worm and the bird gets into trouble.

The adventures of a legendary hero who, dazzled by the beauty of a princess in the hand asks. This imposes several trials he emerges victorious. Only death will eventually bring the two young men.

1987, 30 sec, color, sound Produced for an Artbreak segment on MTV Network, this dynamic "thirty-second spot" presents an abbreviated history of animation according to the representation of women, from the cell imagery of Max Fleischer's Out of the Inkwell series to the contemporary digital effects of television. In Birnbaum's vision, Fleischer's spilled inkwell releases cartoon bubbles containing images of women from MTV music videos. With wit and panache, Birnbaum reverses the traditional sexual roles of the producer and product of commercial imagery: The final image is that of a female artist on whose video "palette" we see a glimpse of Fleischer.

When the lights of the city go dim, all of the kitties are let outdoors to prowl. Holding a meeting, they come up with a plan to rid themselves of a neighboring dog. The cats proceed to torment him, chase him with a water hose, and try feeding him.

White Tape explores the theme of boundaries: the frame, the space between brushstrokes and the implications of occupation.