Classifier Instance:

Anchor text: Chinatown
Target Entity: Chinatown\u002c_Manhattan
Preceding Context: Despite receiving financing from other sources, including Saul Zaentz (who agreed to distribute the soundtrack album on his Fantasy Records label), the budget was tight enough to exclude pencil tests, so Bakshi had to test the animation by flipping an animator's drawings in his hand before they were inked and painted. When a cameraman realized that the cels for the desert scenes were not wide enough and revealed the transparency, Bakshi painted a cactus to cover the mistake. Very few storyboards were used. Bakshi and Vita walked around the Lower East Side, Washington Square Park,
Succeeding Context: and Harlem, taking moody snapshots. Artist Ira Turek inked the outlines of these photographs onto cels with a Rapidograph, the technical pen preferred by Crumb, giving the film's backgrounds a stylized realism virtually unprecedented in animation. The tones of the watercolor backgrounds were influenced by the work of Ashcan School painters such as George Luks and John French Sloan. Among other unusual techniques, bent and fisheye camera perspectives were used to portray the way the film's hippies and hoodlums viewed the city. Many scenes featured documentary recordings of real conversations in place of scripted dialogue—this too would become a signature of Bakshi's.
Paragraph Title: null
Source Page: Ralph Bakshi

Ground Truth Types:

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