Neighbours (1952), Norman McLaren’s eight‑minute pixilation parable, is as famous for the studio‑level interference it endured as for its stop‑motion inventiveness. McLaren, returning from an almost year‑long stay in Maoist China and alarmed by the outbreak of the Korean War, conceived Neighbours as an unflinching anti‑militarist statement: two neighbours escalate a squabble over a single flower until they literally kill one another. Behind the scenes at the National Film Board of Canada, however, the film’s blunt final act — a sequence in which the two men murder each other’s wives and children — was deemed unacceptable for American and European markets. To placate distributors and international sensibilities the NFB required McLaren to excise that shocking sequence, creating a palatable, Oscar‑winning cut that took home the Academy award at the 25th Oscars (1953) even as it diluted McLaren’s original political intent.
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