Mostrando entradas con la etiqueta recortables. Mostrar todas las entradas
Mostrando entradas con la etiqueta recortables. Mostrar todas las entradas
Billie Mintz
"The Long Journey Home" (2008)
En un pueblo dónde nunca la gente ha conocido la enfermedad, un niño debe recorrer la tierra salvaje para encontrar el medicamento a su enfermedad. Vuelve de su gran viaje al pueblo y nadie acepta los cambios que él ha sufrido. Este trabajo forma parte del interesante proyecto filantrópico promovido por Billie Mintz : ARC Institute.
Enlace a The ARC BLOG
Billie is an extremely gifted Independent Producer. He graduated from the ITP program in 2004 at the top of his class. He designed and implemented a fully integrated business plan which incorporated his many goals into one impressive long range plan. While the industry felt the pressure of financial cuts and re-allocations, Billie maintained his entrepreneurial attitude and adjusted his expectations to become the company that exists today.
He is well known for his integrity and commitment to advancing the arts, as he develops the business skill that is key in helping artists achieve success as independents. Billie has taken what he has learned and graciously shares his wisdom with emerging producers in an effort to strengthen the community and give back at the same time.
He has demonstrated that it is indeed quite possible to attain financial success while remaining true to his artistic roots.(via)
WEB de BILLIE
Nicolas Brault
Né à Montréal en 1975, Nicolas Brault est diplômé en design graphique de l'Université du Québec à Montréal. Durant ses études, il réalise deux courts métrages dessinés directement sur tablette graphique : L'Ã¥il (1999) et Vermino (2000).
En 2000, il remporte le Concours Cinéaste recherché(e), de l'ONF, ce qui lui permet de réaliser Antagonia, un film surprenant qui met en scène deux volatiles sur une glace sens dessus dessous, aux prises avec des poissons qui les suivent comme des ombres. Avec ce film, Nicolas Brault implante aussitôt un style personnel marqué par la naÔveté de la situation, la pureté du dessin et l'esprit ludique.
En 2002, il accompagne l'équipage du SEDNA IV au cours de sa mission en Arctique et réalise le film Å’lot. Cette oeuvre dépeint, avec l'épure de l'art inuit et une touche de fantaisie, un monde où les baleines du ciel et les poissons se transforment en ballons. Une ode au Grand Nord qui se livre à l'océan un peu plus chaque année.
Nicolas travaille présentement au scénario de son prochain film, Brésil. (via)
"HUNGU" WEB del corto
The hungu is an African musical instrument, ancestor of the Brazilian berimbau. Its origins are carried on in an ancient tradition. Inspired by the grace and raw beauty of African rock paintings, Nicolas Brault applies his narrative gifts to a world where humans and nature are subtly linked.
Under the African sun, a child walks in the desert with his kin. Death is prowling, but a mother's soul resurrected by music will return strength and life to the child when he becomes a man.
The filmmaker combines 2D animation on a graphics tablet with the warmth of sand animation, thus uniting modernity and tradition, Brazil and Africa, music and memory. Sparse in design and humanist in its outlook, Hungu exudes the elegance and suggestive power of a timeless story. (via)
HUNGU - Rencontre avec l'auteur
Clip du Jour de la Terre Québec 2007
En 2000, il remporte le Concours Cinéaste recherché(e), de l'ONF, ce qui lui permet de réaliser Antagonia, un film surprenant qui met en scène deux volatiles sur une glace sens dessus dessous, aux prises avec des poissons qui les suivent comme des ombres. Avec ce film, Nicolas Brault implante aussitôt un style personnel marqué par la naÔveté de la situation, la pureté du dessin et l'esprit ludique.
En 2002, il accompagne l'équipage du SEDNA IV au cours de sa mission en Arctique et réalise le film Å’lot. Cette oeuvre dépeint, avec l'épure de l'art inuit et une touche de fantaisie, un monde où les baleines du ciel et les poissons se transforment en ballons. Une ode au Grand Nord qui se livre à l'océan un peu plus chaque année.
Nicolas travaille présentement au scénario de son prochain film, Brésil. (via)
"HUNGU" WEB del corto
The hungu is an African musical instrument, ancestor of the Brazilian berimbau. Its origins are carried on in an ancient tradition. Inspired by the grace and raw beauty of African rock paintings, Nicolas Brault applies his narrative gifts to a world where humans and nature are subtly linked.
Under the African sun, a child walks in the desert with his kin. Death is prowling, but a mother's soul resurrected by music will return strength and life to the child when he becomes a man.
The filmmaker combines 2D animation on a graphics tablet with the warmth of sand animation, thus uniting modernity and tradition, Brazil and Africa, music and memory. Sparse in design and humanist in its outlook, Hungu exudes the elegance and suggestive power of a timeless story. (via)
HUNGU - Rencontre avec l'auteur
Clip du Jour de la Terre Québec 2007
Dmitry Palagin
Filmografía en ANIMATOR.RU .
A TALE WITH AN ANGEL (2004)
Road Complaints (2006)
"THE HEAVENLY SWINGS" (2008)
A TALE WITH AN ANGEL (2004)
Road Complaints (2006)
"THE HEAVENLY SWINGS" (2008)
Sergey Gordeev
Nació en 1970 en Moscú. Ha trabajado para el estudio Varga (Budapest) como director, director de animación y artista layout en la serie Mr. Bean; y para el estudio Folimage (Valence, Francia) como director de animación del largometraje La Prophetie des Grenouilles. Es el director de animación de la serie Kipper, y el director de películas como Pilot Brothers Are Fond of Hunting, A Fox Orphan, Sheidulla The Lazy Man y A Big Cock (del proyecto Mount of Gems) entre otras.(via)
“Poor Yorick” (El pobre Yorick) (2007)
"A Fox Orphan" (2004)
"LAZY SHEIDULLA" Film from series «MOUNTAIN OF GEMS» (2004)
ANIMATOR.RU
Portafolio de Gordeev.
“Poor Yorick” (El pobre Yorick) (2007)
"A Fox Orphan" (2004)
"LAZY SHEIDULLA" Film from series «MOUNTAIN OF GEMS» (2004)
ANIMATOR.RU
Portafolio de Gordeev.
Arthur Cox
ArthurCox is a Bristol based animation company that was born in 2001 when Sarah Cox met Sally Arthur and they set up a studio in a Clerkenwell cupboard. It was here that they produced the Bafta nominated Heavy Pockets, and the award winning AIR scheme film ‘Perfect’, as well as many commercials for the French TV market.
After the move to Bristol in 2004 they were joined by directors Matthew Walker, Felix Massie and Emma Lazenby and they continue to produce award winning films; ‘John and Karen’, ‘Don’t Let It All Unravel’ and ‘A-Z’.
Se pueden ver diversos fragmentos de ArthurCox en Youtube y en su WEB.
Sarah Cox studied Animation at the Royal College of Art graduating in 1992. She has since worked as a director of short films and commercials. This includes most notably REEL TO REEL in 1997 (Winner, Best film under 10 mins British Animation Awards) and PLAIN PLEASURES commissioned by Channel 4 and completed in 2001, winner of a Silver Dove at Leipzig.
PLAIN PLEASURES 2001
Her latest film is a 6 minute commission from S4C: HEAVY POCKETS which was nominated for the Short Film BAFTA 2005 and has been screened in festivals worldwide including RUSHES, Onedotzero, Message to Man, MIAF, LIAF, Tricky Women, Clermont Ferrand and Morbegno.
HEAVY POCKETS 2004
She joined Picasso PIctures in 1994 and her directing credits include campaigns for Boots No7 and Avaya Communications as well as individual commercials for Sanatogen, Benadryl and Virgin Megastores. A year was spent as Head of 2D Animation at Savannah College of Art and Design, Georgia (1999 - 2000). Further teaching followed at the National Film and TV School UK (2001 - 2003) Exeter University, Bristol University and Newport. She is external examiner for London Met Animation MA and the National School of Film and Television Animation Direction course. Sarah left Picasso Pictures to set up Arthur Cox with Sally Arthur in 2002. Using a combination of live action and animation they have directed sequences for Channel 4 TV special WILDE STORIES as well as commercials for Coca Cola, Dasani mineral water, Nestea, Kelloggs Wheats and All-Bran. She directed Don't let it all Unravel a short knitted film about global warming for S.O.S./Live Earth 07 which was produced through Aardman.
John and Karen produced by Sarah Cox and directed by Matthew Walker has won several awards including Best Animation for Adults at Annecy 2007. She is currently producing the animation for a BBC Children's Newsround Special. Sarah is currently directing a short film Take Time - a short film about Bristol using archive footage, as well as developing ArthurCox's series Where's my Dinner? - a 52x7 adventure show with co-director Sally Arthur.(via)
Dear Nelson (2001)
3 Ways to Go (1997)
"A TIME AND A TIME" (2008) Sarah Cox
Sally Arthur
Since 2002 Sally has co-directed commercials, graphic sequences, idents and short films at Arthur Cox – a company she started with Sarah Cox – starting with Wilde Stories in 2002 and including ads for Oscillo, Dasani, Nestea, All bran and more – first in Clerkenwell Workshops and now in Bristol.
"Dear dairy" 2000
Arthur Cox are currently developing a series for children called Where’s my Dinner? and recently produced 3 short films.
"Perfect" 2004
Sally directed Perfect (fragmento 1) (fragmento 2) in 2004 – produced by Blackwatch for MESH / Channel 4 – about a suburban 70’ couple and their deteriorating possessions. It has been screened in many festivals including ANIMAC, Tricky Women, LIAF, MIAF, Anima Mundi, Animated Encounters, RESFEST. (via)
"A-Z" 2007 Sally Arthur
Fragmento de A-Z
Fragmento de A-Z en la bobina de los nominados al BAF 2008.
"A to Z" 2007
Emma Lazenby
Mother of many (2009)
After the move to Bristol in 2004 they were joined by directors Matthew Walker, Felix Massie and Emma Lazenby and they continue to produce award winning films; ‘John and Karen’, ‘Don’t Let It All Unravel’ and ‘A-Z’.
Se pueden ver diversos fragmentos de ArthurCox en Youtube y en su WEB.
Sarah Cox studied Animation at the Royal College of Art graduating in 1992. She has since worked as a director of short films and commercials. This includes most notably REEL TO REEL in 1997 (Winner, Best film under 10 mins British Animation Awards) and PLAIN PLEASURES commissioned by Channel 4 and completed in 2001, winner of a Silver Dove at Leipzig.
PLAIN PLEASURES 2001
Her latest film is a 6 minute commission from S4C: HEAVY POCKETS which was nominated for the Short Film BAFTA 2005 and has been screened in festivals worldwide including RUSHES, Onedotzero, Message to Man, MIAF, LIAF, Tricky Women, Clermont Ferrand and Morbegno.
HEAVY POCKETS 2004
She joined Picasso PIctures in 1994 and her directing credits include campaigns for Boots No7 and Avaya Communications as well as individual commercials for Sanatogen, Benadryl and Virgin Megastores. A year was spent as Head of 2D Animation at Savannah College of Art and Design, Georgia (1999 - 2000). Further teaching followed at the National Film and TV School UK (2001 - 2003) Exeter University, Bristol University and Newport. She is external examiner for London Met Animation MA and the National School of Film and Television Animation Direction course. Sarah left Picasso Pictures to set up Arthur Cox with Sally Arthur in 2002. Using a combination of live action and animation they have directed sequences for Channel 4 TV special WILDE STORIES as well as commercials for Coca Cola, Dasani mineral water, Nestea, Kelloggs Wheats and All-Bran. She directed Don't let it all Unravel a short knitted film about global warming for S.O.S./Live Earth 07 which was produced through Aardman.
John and Karen produced by Sarah Cox and directed by Matthew Walker has won several awards including Best Animation for Adults at Annecy 2007. She is currently producing the animation for a BBC Children's Newsround Special. Sarah is currently directing a short film Take Time - a short film about Bristol using archive footage, as well as developing ArthurCox's series Where's my Dinner? - a 52x7 adventure show with co-director Sally Arthur.(via)
Dear Nelson (2001)
3 Ways to Go (1997)
"A TIME AND A TIME" (2008) Sarah Cox
Sally Arthur
Since 2002 Sally has co-directed commercials, graphic sequences, idents and short films at Arthur Cox – a company she started with Sarah Cox – starting with Wilde Stories in 2002 and including ads for Oscillo, Dasani, Nestea, All bran and more – first in Clerkenwell Workshops and now in Bristol.
"Dear dairy" 2000
Arthur Cox are currently developing a series for children called Where’s my Dinner? and recently produced 3 short films.
"Perfect" 2004
Sally directed Perfect (fragmento 1) (fragmento 2) in 2004 – produced by Blackwatch for MESH / Channel 4 – about a suburban 70’ couple and their deteriorating possessions. It has been screened in many festivals including ANIMAC, Tricky Women, LIAF, MIAF, Anima Mundi, Animated Encounters, RESFEST. (via)
"A-Z" 2007 Sally Arthur
Fragmento de A-Z
Fragmento de A-Z en la bobina de los nominados al BAF 2008.
"A to Z" 2007
Emma Lazenby
Mother of many (2009)
A Bristol film director is celebrating winning a Bafta for her short animation, Mother Of Many.
The film, from production company Arthur Cox, follows the rhythms of a baby inside the womb. Director Emma Lazenby said she was "absolutely delighted" with the award for the film, which was inspired by her mother, who is a midwife. "I had been thinking of retraining as a midwife but I think I'll stick with animation now," she added. Producer Sally Arthur was unable to attend the award ceremony on Sunday night at London's Royal Opera House because she is in the late stages of pregnancy. Ms Lazenby has lived and worked in Bristol for three years, after a career that has encompassed filming in the Scottish Highlands and working on pop videos and adverts in London. She also worked as a designer on CBBC favourite Charlie and Lola. Caroline Norbury, of South West Screen, which helped finance the film said: "It's fantastic news for Bristol that once again our talent is being recognised. "Last year, Esther May Campbell and Aardman both brought home awards so to achieve a win again in 2010 is simply exceptional."
The Bafta awards are given by the British Academy of Film and Television Arts. (via)
John Robertson
Flea Circus was founded in 1994, specializing in 2D/3D design and animation for commercials.
New Zealand-born animator/artist John Robertson is a one-flea circus, working from his base in London. His commercial for Gordon's Gin won a Bronze Lion at Cannes in 2005.
Rexona: Paper Doll
Toyota Prius - Commercial
Fragmentos de sus obras en curiouspictures.com
New Zealand-born animator/artist John Robertson is a one-flea circus, working from his base in London. His commercial for Gordon's Gin won a Bronze Lion at Cannes in 2005.
Rexona: Paper Doll
Toyota Prius - Commercial
Fragmentos de sus obras en curiouspictures.com
Osbert Parker
Three time British Academy Award Nominated director Osbert Parker, is perhaps best-known for his signature style of using cut-out animation mixed with live action to create one-of-a-kind imaginary landscapes within commercials and short films.
For the past three years Parker has been experimenting and crafting two short films that are receiving great acclaim on the film festival circuit. “Film Noir” was nominated for best short animated film by the British Academy of Film and Television Arts in 2006 and also was nominated for the Palme d'Or at the Cannes Film Festival. It was included at the Telluride Film Festival as well.
"Film Noir" screened in competition at Slamdance this year whilst his newest short film, “Yours Truly,” (aka "Head over Heels") is screened in competition at Sundance 2008. "Yours Truly" won best animated film at last years Aspen Short Film Festival, the gold plaque at the Chicago Film Festival, best animated short at both Melbourne and St. Louis before being nominated for his third BAFTA in 2008.
Parker is a freelance director who has worked at Quentin Tarantino’s production company A Band Apart as their first commercial director in 1995 and as Steve Barron’s second unit director on Hallmark’s TV feature length ARABIAN NIGHTS. In 2005 he was selected by writer/director Richard Curtis as one of the directors to create a special animated MAKE POVERTY HISTORY film.
Parker’s commercial credits include such clients as Coca-Cola, Nike, Budweiser, The World Wildlife Fund and MTV.
He is currently creating the third short in his “Noir” trilogy and developing a mixed media feature
while he completes 3 new NPower commercials due for release later this year in April 2008. (via)
Osbert Parker interview Level 4 Animation Bir Martin Tierney
Osbert Parker: television commercials (via)
One of the most creative exponents of cut-out animation, Osbert Parker uses a blend of this and live action video in his films and, as in the four examples today, television commercials. A graduate of Middlesex Polytechnic Osbert is perhaps best known for his award winning shorts Film Noir (2005) and Yours Truly (2006), the latter being one I intend to feature shortly in the next few days. His commercial work shows all his often dazzling array of live action harnessed to different animation technologies. Physiology (for Kinkos) has an array of landscapes, notably the litter strewn skies above huge towering filing cabinets and a guy with a rubber neck, not to mention marching men with raincoats, hats and umbrellas striding out on a paper document; then we embark on a voyage into an eye and a desert before we hit paydirt and enter the office of Kinko's who solve all mankind's filing problems. It does what every commercial should do - grab attention and then the sales. Blackboard (MTV) has us being exhorted to change what we do and say, by two blackboards and a whiteboard in a mix of computerised and stop-motion work. Shoelace Soccer (NIKE) and School House (Coca Cola) similarly succeed in a crowded market place in securing attention for the product. Just for fun I've had my classes working out how many techniques Osbert has used. Goodness knows what they will make of his longer films. In a studio with a fine array of talent, his employer Curious Pictures has a director producing cutting edge, distinctive work.
Review of Osbert Parker's shorts Film Noir & Yours Truly.
FRagmentos de sus obras en curiouspictures.com
WEB de Parker
For the past three years Parker has been experimenting and crafting two short films that are receiving great acclaim on the film festival circuit. “Film Noir” was nominated for best short animated film by the British Academy of Film and Television Arts in 2006 and also was nominated for the Palme d'Or at the Cannes Film Festival. It was included at the Telluride Film Festival as well.
"Film Noir" screened in competition at Slamdance this year whilst his newest short film, “Yours Truly,” (aka "Head over Heels") is screened in competition at Sundance 2008. "Yours Truly" won best animated film at last years Aspen Short Film Festival, the gold plaque at the Chicago Film Festival, best animated short at both Melbourne and St. Louis before being nominated for his third BAFTA in 2008.
Parker is a freelance director who has worked at Quentin Tarantino’s production company A Band Apart as their first commercial director in 1995 and as Steve Barron’s second unit director on Hallmark’s TV feature length ARABIAN NIGHTS. In 2005 he was selected by writer/director Richard Curtis as one of the directors to create a special animated MAKE POVERTY HISTORY film.
Parker’s commercial credits include such clients as Coca-Cola, Nike, Budweiser, The World Wildlife Fund and MTV.
He is currently creating the third short in his “Noir” trilogy and developing a mixed media feature
while he completes 3 new NPower commercials due for release later this year in April 2008. (via)
Osbert Parker interview Level 4 Animation Bir Martin Tierney
Osbert Parker: television commercials (via)
One of the most creative exponents of cut-out animation, Osbert Parker uses a blend of this and live action video in his films and, as in the four examples today, television commercials. A graduate of Middlesex Polytechnic Osbert is perhaps best known for his award winning shorts Film Noir (2005) and Yours Truly (2006), the latter being one I intend to feature shortly in the next few days. His commercial work shows all his often dazzling array of live action harnessed to different animation technologies. Physiology (for Kinkos) has an array of landscapes, notably the litter strewn skies above huge towering filing cabinets and a guy with a rubber neck, not to mention marching men with raincoats, hats and umbrellas striding out on a paper document; then we embark on a voyage into an eye and a desert before we hit paydirt and enter the office of Kinko's who solve all mankind's filing problems. It does what every commercial should do - grab attention and then the sales. Blackboard (MTV) has us being exhorted to change what we do and say, by two blackboards and a whiteboard in a mix of computerised and stop-motion work. Shoelace Soccer (NIKE) and School House (Coca Cola) similarly succeed in a crowded market place in securing attention for the product. Just for fun I've had my classes working out how many techniques Osbert has used. Goodness knows what they will make of his longer films. In a studio with a fine array of talent, his employer Curious Pictures has a director producing cutting edge, distinctive work.
Review of Osbert Parker's shorts Film Noir & Yours Truly.
FRagmentos de sus obras en curiouspictures.com
WEB de Parker
Johannes Nyholm
Johannes Nyholm was born in Lund in 1974. Artist in the fields of film, video and animation. MA in film, art and new media from the universities of Lund, Copenhagen and Gothenburg, and a diploma degree in classical animation from Eksjö. Has made a few short films, some animated, and a bunch of music videos. Runs the production company Joclo.
Puppetboy - a Lady Visitor
Little Dragon - "Twice". Directed by Johannes Nyholm. Puppet Masters: Yukimi Nagano, Håkan Wirenstrand, Fredrik Källgren Wallin, Erik bodin, Elias Araya, Aime Hellrand, Henrik Malmgren, Andreas Korsár and Kurt Lightner.
Kristofer Åstrom - "the Wild". Directed by Johannes Nyholm and Andreas Nilsson.
Alf - "Gröna Linjen" Directed by Johannes Nyholm, Andreas Nilsson.
Jenny Wilson - "Let my shoes lead me forward". Directors: Johannes Nyholm, Per-Isak Snälls, Andreas Nilsson.
The Tallest Man on Earth - "It will Follow the Rain". Director: Johannes Nyholm. Mask & Assist: Erik Zaring, Dockhus Animation. Photo: Claudio Fransson. Label: Gravitation.
Dharma - "boom boom". Director: Johannes Nyholm and Samuel Nyholm
WEB de Johannes Nyholm
Sus videos en Youtube
Puppetboy - a Lady Visitor
Little Dragon - "Twice". Directed by Johannes Nyholm. Puppet Masters: Yukimi Nagano, Håkan Wirenstrand, Fredrik Källgren Wallin, Erik bodin, Elias Araya, Aime Hellrand, Henrik Malmgren, Andreas Korsár and Kurt Lightner.
Kristofer Åstrom - "the Wild". Directed by Johannes Nyholm and Andreas Nilsson.
Alf - "Gröna Linjen" Directed by Johannes Nyholm, Andreas Nilsson.
Jenny Wilson - "Let my shoes lead me forward". Directors: Johannes Nyholm, Per-Isak Snälls, Andreas Nilsson.
The Tallest Man on Earth - "It will Follow the Rain". Director: Johannes Nyholm. Mask & Assist: Erik Zaring, Dockhus Animation. Photo: Claudio Fransson. Label: Gravitation.
Dharma - "boom boom". Director: Johannes Nyholm and Samuel Nyholm
WEB de Johannes Nyholm
Sus videos en Youtube
Rivka Press
"Gary and Mildred" (2007)
Having despaired in his attempts at regaining his mother's attention. Gary chances upon his precious lost dog. Could motherly love be replaced by a dog's love?
Rivka Press a graduate of the Bezalel Academy of Arts and Design, Jerusalem.
Jonas Odell
Jonas Odell es socio de filmtecknarna —una productora fundada en suecia por odell, lars ohlson y stig bergqvist en 1981 centrada en un principio en la animación— la cual realiza en la actualidad anuncios, vídeo clips y cortometrajes. el estilo de odell es una mezcla entre imagen real y animación con una gran dominio del after effects. (via)
Revolver (1993)
Jonas Odell
Revolver Bang ! Bang ! (via)
Never like the first time -trailer- (2006)
En 1981, à Stockholm, trois étudiants aimant le dessin et l’animation mettent sur pied un studio qu’ils nomment Filmtecknarna. Au début, Jonas Odell, Lars Ohlson et Stig Bergqvist consacrent leurs activités à la production et à la réalisation de courts métrages d’auteur. Mais quelques années plus tard se présente un nouveau débouché pour ces réalisateurs. En effet, l’apparition de la télévision privée en Suède entraîne un besoin d’images que le studio s’empresse de satisfaire. Les fondateurs se lancent donc dans la réalisation d’animations télévisées, de publicités et de vidéoclips tout en revenant périodiquement au court métrage d’auteur.
Imprimant à leurs productions une incomparable unité stylistique, ils permettront à Filmtecknarna d’atteindre une renommée internationale. Quand les clients se nomment, par exemple, Ikea, BMW, U2 et Franz Ferdinand, on peut effectivement parler de notoriété.
Un autre moment clef dans l’existence de Filmtecknarna survient en 1993 quand les festivals du monde entier sont pris d’assaut par un ovni, Revolver, que coréalise le trio fondateur avec Martti Ekstrand. Exerçant encore aujourd’hui une réelle fascination sur le spectateur, cet étrange film en noir et blanc, construit à l’aide de mouvements en boucle et évoquant l’esthétique de Muybridge et des frères Fleischer, expose une histoire du monde dont il ne resterait que quelques fragments énigmatiques.
Odell poursuivra une carrière fructueuse comme réalisateur de clips sans abandonner le cinéma d’auteur, approfondissant une approche dans laquelle le désir de saisir le réel s’appuie sur un sens du design qui, paradoxalement, n’a rien de réaliste. Dans Family & Friends, il plonge au fond de sa mémoire pour dresser le portrait de personnages colorés rencontrés jadis et dont le souvenir le hante encore. Pour le célèbre Never Like the First Time!, Ours d’or du Festival de Berlin en 2006, il donne un contrepoint graphique à de véritables interviews menées avec des personnes qui racontent un moment marquant de leur existence : leur première expérience sexuelle.
goldfrapp - strict machine (2003)
Le programme, composé par le cinéaste lui-même, comprend Revolver, My Best Friend Plank, Family & Friends, Never Like the First Time! et une sélection de vidéoclips réalisés pour Franz Ferdinand, U2, Goldfrapp, The Hours, Audio Bullys, Erasure, Feeder et Mad Action. La Cinémathèque a acquis une copie neuve 35 mm de Revolver en 2006 grâce à l’intervention de cinq généreux donateurs. De plus, le cinéaste nous réserve une surprise de taille, soit la projection de son dernier film, Lies, qui vient tout juste d’être présenté en première mondiale à la Mostra de Venise. (via)
Revolver (1993)
Jonas Odell
Revolver Bang ! Bang ! (via)
Never like the first time -trailer- (2006)
En 1981, à Stockholm, trois étudiants aimant le dessin et l’animation mettent sur pied un studio qu’ils nomment Filmtecknarna. Au début, Jonas Odell, Lars Ohlson et Stig Bergqvist consacrent leurs activités à la production et à la réalisation de courts métrages d’auteur. Mais quelques années plus tard se présente un nouveau débouché pour ces réalisateurs. En effet, l’apparition de la télévision privée en Suède entraîne un besoin d’images que le studio s’empresse de satisfaire. Les fondateurs se lancent donc dans la réalisation d’animations télévisées, de publicités et de vidéoclips tout en revenant périodiquement au court métrage d’auteur.
Imprimant à leurs productions une incomparable unité stylistique, ils permettront à Filmtecknarna d’atteindre une renommée internationale. Quand les clients se nomment, par exemple, Ikea, BMW, U2 et Franz Ferdinand, on peut effectivement parler de notoriété.
Un autre moment clef dans l’existence de Filmtecknarna survient en 1993 quand les festivals du monde entier sont pris d’assaut par un ovni, Revolver, que coréalise le trio fondateur avec Martti Ekstrand. Exerçant encore aujourd’hui une réelle fascination sur le spectateur, cet étrange film en noir et blanc, construit à l’aide de mouvements en boucle et évoquant l’esthétique de Muybridge et des frères Fleischer, expose une histoire du monde dont il ne resterait que quelques fragments énigmatiques.
Odell poursuivra une carrière fructueuse comme réalisateur de clips sans abandonner le cinéma d’auteur, approfondissant une approche dans laquelle le désir de saisir le réel s’appuie sur un sens du design qui, paradoxalement, n’a rien de réaliste. Dans Family & Friends, il plonge au fond de sa mémoire pour dresser le portrait de personnages colorés rencontrés jadis et dont le souvenir le hante encore. Pour le célèbre Never Like the First Time!, Ours d’or du Festival de Berlin en 2006, il donne un contrepoint graphique à de véritables interviews menées avec des personnes qui racontent un moment marquant de leur existence : leur première expérience sexuelle.
goldfrapp - strict machine (2003)
Le programme, composé par le cinéaste lui-même, comprend Revolver, My Best Friend Plank, Family & Friends, Never Like the First Time! et une sélection de vidéoclips réalisés pour Franz Ferdinand, U2, Goldfrapp, The Hours, Audio Bullys, Erasure, Feeder et Mad Action. La Cinémathèque a acquis une copie neuve 35 mm de Revolver en 2006 grâce à l’intervention de cinq généreux donateurs. De plus, le cinéaste nous réserve une surprise de taille, soit la projection de son dernier film, Lies, qui vient tout juste d’être présenté en première mondiale à la Mostra de Venise. (via)
Eric Ledune
Nació en 1963 en Etterbeeck, Bélgica. Es fotógrafo, creador de audiovisuales y de películas de animación; es también profesor en el ámbito de Bellas Artes y Cine de animación. Artista irónico e innovador, si afirmó con películas como “Haïku”, “Bayan Bana Bak Bayan” y “Déjà Vu”.
Su último corto de animación “Do it yourself”, es un irónico manual de tortura para el uso de pequeños y grandes. Poniendo pescado en escena, la película enseña, de manera “entretenida y educativa,” cuándo y cómo se aplican las peores torturas, desde la simple intimidación a la violencia física y psicológica. Para realizarlo, su director se inspiró en un verdadero manual de tortura preparado por la CIA en los años Setenta para las dictaduras en América Latina. (via)
Do-It-Yourself (2007 Extrait 1)
Do-It-Yourself (2007 Extrait 2)
Déjà Vu (2004)
Souvenirs (2006)
Bayan Bana Bak Bayan (2001)
Procession, etc (1994)
6 Haïku I (1998)
6 Haïku II (1998)
WEB de Eric Ledune
Su último corto de animación “Do it yourself”, es un irónico manual de tortura para el uso de pequeños y grandes. Poniendo pescado en escena, la película enseña, de manera “entretenida y educativa,” cuándo y cómo se aplican las peores torturas, desde la simple intimidación a la violencia física y psicológica. Para realizarlo, su director se inspiró en un verdadero manual de tortura preparado por la CIA en los años Setenta para las dictaduras en América Latina. (via)
Do-It-Yourself (2007 Extrait 1)
Do-It-Yourself (2007 Extrait 2)
Déjà Vu (2004)
Souvenirs (2006)
Bayan Bana Bak Bayan (2001)
Procession, etc (1994)
6 Haïku I (1998)
6 Haïku II (1998)
WEB de Eric Ledune
Cyriak Harris
Cyriak Harris is a British freelance animator better known by his first name Cyriak, and his B3ta username Mutated Monty.
A regular contributor to the British website B3ta since 2004[1], Cyriak displays a surreal and often disturbing animation style with a distinct British theme. Many of his animations are based on Z-List celebrities, television shows and his hometown of Brighton.
His work has been noticed by the BBC which resulted in a short interview[2], and the airing of his animation DeadEnders (based on the long-running soap opera EastEnders) on the BBC3 comedy series Comedy Shuffle[3]. He also received a special mention in the results of a photoshop competition run by the technology series Click[4].
me on the news
Cyriak's YouTube account features a compilation of his animations, which have been popular throughout the blogosphere and noted by Wired's Eliot Van Buskirk [5], and he was featured on the front page with his animation Moo.
As a freelance animator he has been commissioned by Coke for a Coke Zero advert[3], and by the video sharing website sumo.tv, among others. (via)
WEB de Cyriak
cyriak's animation mix
MOO!
Beastenders
Queenie
Beggin' - Frankie Valli video re-mix
Scratchzilla
messing with my head
A regular contributor to the British website B3ta since 2004[1], Cyriak displays a surreal and often disturbing animation style with a distinct British theme. Many of his animations are based on Z-List celebrities, television shows and his hometown of Brighton.
His work has been noticed by the BBC which resulted in a short interview[2], and the airing of his animation DeadEnders (based on the long-running soap opera EastEnders) on the BBC3 comedy series Comedy Shuffle[3]. He also received a special mention in the results of a photoshop competition run by the technology series Click[4].
me on the news
Cyriak's YouTube account features a compilation of his animations, which have been popular throughout the blogosphere and noted by Wired's Eliot Van Buskirk [5], and he was featured on the front page with his animation Moo.
As a freelance animator he has been commissioned by Coke for a Coke Zero advert[3], and by the video sharing website sumo.tv, among others. (via)
WEB de Cyriak
cyriak's animation mix
MOO!
Beastenders
Queenie
Beggin' - Frankie Valli video re-mix
Scratchzilla
messing with my head
Daniel Szczechura
"Hobby" (1968)
Writer and director of animated films, scenery designer; born in 1930 in Wilczogeby.
Szczechura studied for one year at the Academy of Fine Arts in Warsaw (1951-52). In 1958 he graduated from Warsaw University with a degree in Art History. In 1962 he obtained a second degree, this time from the Cinematography Department of the Lodz Film School. He was one of the co-founders of the Studencki Teatr Satyrykow (STS - Student Theatre of Satirists) in Warsaw and designed the scenery for many of the group's theatrical productions. During the 1950s he made more than a dozen films on 16 mm stock. Of these a handful, including SPOJRZENIA / GAZES, made by Szczechura in collaboration with Andrzej Blasinski, brought the filmmaker awards at film competitions. His diploma film was KONFLIKTY / CONFLICTS (1960). In 1961 Szczechura began producing his films at the Studio Malych Form Filmowych SE-MA-FOR / SE-MA-FOR Studio of Small Film Forms in Lodz. In 1970 he became a lecturer at the Academy of Fine Arts in Warsaw, where he heads the animation workshop of the Graphic Design Department. He has also taught abroad, among other places at the Royal Academy of Art in Ghent and at Emily Carr College in Vancouver. A member of the Stowarzyszenie Filmowcow Polskich (Association of Polish Filmmakers), he was in this organization's National Board from 1970 to 1973. He is also vice president of ASIFA (Association Internationale du Film d'Animation - International Animated Film Association).
Daniel Szczechura has won numerous awards and distinctions for his animated films. These have included the Zlote Grono (Golden Grapes) medal for lifetime achievement at the 4. WYSTAWA I SYMPOZJUM PLASTYKI "ZLOTE GRONO" / 4TH "GOLDEN GRAPES" VISUAL ARTS EXHIBITION AND SYMPOSIUM in Zielona Gora (1969), the Zenon Wasilewski Award (1975) and the Award of the Minister of Culture and Art 2nd class for lifetime achievement in animated film (1975). In 1990 he also received the ASIFA Special Prize for "invaluable contributions to the art and development of animated film" and a Gemma Award (from the Italian Animated Film Association).
Szczechura's debut films borrowed from the aesthetics of Jan Lenica and Walerian Borowczyk. As he himself admitted:
"I see no reason to hide that I was inspired by the films of Borowczyk and Lenica, which suggested the cut-out technique that allowed me to rid myself of the baggage of additional animators, phase designers, assistants. This technique generally revolutionized animated film, (...) because the subject scope of animations expanded with the introduction of cut-outs" (quoted from M. Gizycki, "Nie tylko Disney: rzecz o filmie animowanym" / "Disney Was Not Alone: On Animated Film," Warsaw, 2000).
While classical animated film proved incapable of venturing beyond "cat chases mouse" situations, cut-out films allowed artists to broach issues that are far more important. In an interview with the editors of "Kwartalnik Filmowy" / "Film Quarterly," Szczechura said:
"Their [i.e. Borowczyk and Lenica's] early animations made a big impression on me precisely because they were serious" ("Kwartalnik Filmowy" / "Film Quarterly," 19-20/1997).
As Szczechura himself wrote in a different text in the same issue of the magazine, Lenica and Borowczyk and the cut-out technique they used 'imparted a wisdom on animated film.'"
"Dobranocka" (1997)
Szczechura created his debut film CONFLICTS (1960) almost accidentally, while completing an internship at the film school where he was studying to be a cinematographer. Although something of an afterthought, the film was in no way accidental in terms of technique. It combined cut-outs with live-action scenes, giving the artist an opportunity to play with the film's substance. One element of this game, embodied in scenes reminiscent of old film melodramas, involved using footage of live actors for the segments occurring 'on screen' while presenting the cinema audience as a cut-out, suggesting that the film being watched by the audience was more real than life. This was accurately read as an allusion to the realities of the 1960s, a time when political censorship of art was widespread in Poland, when authorities decided what would be shown to the public with most of their choices going completely against audience tastes and desires. The film was also in some way a product of Szczechura's experiences with the Student Theatre of Satirists and this group's contacts and relations with censors.
Daniel Szczechura's next films also in some way derived from his experiences with the satirical theatre. They included his professional debut MASZYNA / THE MACHINE, the film LITERA / THE LETTER made one year later, and above all FOTEL / A CHAIR (1963), which was his most renowned film of this period and remains Szczechura's best satirical film. In the first of these the filmmaker poked fun at the mania for giant projects that reigned in the Polish People's Republic, showing the construction of a vast and complicated machine designed for... sharpening pencils. In THE LETTER he directed viewers' attention to the concept of ideology, which, enigmatic as is the letter "N" in his film, attracts throngs of people only to prove a mockery, a joke, a prank. A CHAIR was, however, the strongest of his gibes at the system that reigned in Poland at that time. A treatise about methods of gaining power, the film features characters that are shown from a bird's eye view and resemble pawns on a chessboard more than they resemble people.
A CHAIR, THE MACHINE and THE LETTER all caused Szczechura to be compared to Slawomir Mrozek. Even today, some commentators (Jerzy Uszynski, "Film Quarterly," 19-20/1997) view the filmmaker as a chronicler of Polish reality, someone capable of accurately capturing and ridiculing the absurdities evident in abundance in the Polish People's Republic. As satirist Antoni Chodorowski once said in commenting on his own drawings of Warsaw's Palace of Culture and Science, in this country "everything was ridiculous." However, such a reading of Szczechura's films can be applied only to some of his works. Another of his celebrated achievements was HOBBY, a film he made in the year of the student revolt against totalitarian rule (1968). Though it can also be read as a metaphor of enslavement and liberation, it simultaneously surpasses any such interpretations and could do completely without them. Psychological or psychoanalytic interpretations that define the film as a picture of female predacity and male naiveté prove equally insufficient. The situation is quite similar with the somewhat earlier film WYKRES / A GRAPH, whose hero chases an undefined point, an unachievable goal. A GRAPH can easily be read as a satire - i.e. "this is how all of us, during Socialist Realist times, chased after the unattainable goal that was supposed to be the happiness of humankind under Communism." But the film can also be seen as expressing the hopelessness of human endeavor, i.e. read in a philosophical manner as possessing an existential message.
"Daniel Szczechura's films began as descriptions of reality - satirical, overstated, sneering, but nevertheless descriptions. Soon thereafter the flippant tone was replaced by a perspective far more serious; the desire to document external reality gave way to explorations of issues hidden deep within us," wrote Jerzy Armata in summarizing the artist's creative development on the occasion of a screening of ten of Szczechura's films (HOBBY - DANIEL SZCZECHURA, 2002, in "Kino" monthly, 2/2002).
The director himself had his fill of producing films that were purely satirical in spirit.
"When I made 'A Chair' in 1963, I was inundated with requests for films that would continue to 'beat issues with the whip of satire' (...). Something prevented me from accepting them, and in retrospect I see that this helped me avoid the trap of off-handedness, illustration" ("Rezyser" / "Director" monthly, 1/1998).
Kazimierz Zorawski ("Kino" monthly, 8/1971) created a classification of Szczechura's films in terms of their subject matter. He identified a group of works that explore mechanisms operating within human society (THE MACHINE, A CHAIR, KAROL / CHARLES), a series that illustrate operations of the human mind (A GRAPH and HOBBY) and finally those in which the director sought out new areas of interest (THE LETTER, PODROZ / THE VOYAGE, PIERWSZY, DRUGI, TRZECI... / FIRST, SECOND, THIRD... and DESANT / THE LANDING). It is difficult to agree completely with these choices, because THE LANDING or THE LETTER, and even FIRST, SECOND, THIRD... have more in common with THE MACHINE or A CHAIR than they do with THE VOYAGE. The latter film, in turn, has indubitably more to do with SKOK / THE LEAP, as both films attempt to illustrate the absurdity of life.
"Dobranocka" (1997)
Yet another reading emerges from the two-film series consisting of FATAMORGANA / MIRAGE and FATAMORGANA II / MIRAGE II (produced ten years later and thus not encompassed by K. Zorawski in his analysis), both of which feature stories that are Surrealist in spirit and governed by the logic of dreams. Finally, there is GOREJACE PALCE / BURNING FINGERS, also based on a dream-like concept, though one that is nightmarish rather than joyous. Titled DOBRANOCKA / A GOOD NIGHT STORY, Daniel Szczechura's last film also is strongly evocative of the dream world.
Fatamorgana I (1981)
The filmmaker himself strongly believes that animated film needs constantly to renew its narrations. Thus, in his later films he abandoned creating clear anecdotes with a punch line and a linear narration in favor of producing open-ended stories that were enigmatic. As he said of MIRAGE:
"What did the poet mean by this? I'm incapable of verbalizing it" ("Kino" monthly, 11/12/1990 - in conversation with M. Gizycki).
Daniel Szczechura has stated many times that his films resemble narrative features. He attributes this to his education: as someone who studied cinematography, he is less skilled than colleagues like Witold Giersz as a painter or graphic artist - a fact he readily admits. He exhibits a tendency to compose shots in a filmic manner rather than in a manner characteristic of the visual arts - as a cinematographer, not as a draughtsman. Szczechura believes that animated films are not visual art, because their individual scenes cannot be contemplated to infinity.
"Films are series of images and each of these images as a meaning in its series," he said in an interview with the editors of "Kwartalnik Filmowy" / "Film Quarterly" (19-20/1997).
He sees animated films as being closely related to poetry.
"To me, a good animated film is the analogue of a good song, one by Agnieszka Osiecka, Wojciech Mlynarski or Brel. I would love it if animations were shaped just like that, if they were abbreviated, closed forms that included both content and emotion," Daniel Szczechura once said ("Film" monthly, 8/2002).
Daniel Szczechura is one of Poland's most famous makers of animated films. His name evokes memories of greatest successes of Polish animated film, especially during the 1960s. He is also someone who placed emphasis on constantly investigating new avenues and who proved capable of abandoning developed formulas that brought him success in favor of exploring the unknown. PODROZ / THE VOYAGE, a kind of anti-film in which seemingly nothing happens, serves as an example. The focus in this film is falls on the rhythm of the telegraph posts that pass by, on the monotony of the sounds that customarily accompany travel. A leaf that falls to the ground in a park alley proves a special event. Marcin Gizycki believes that this film marked a turning point in Polish animated film, a turning point as significant as the debuts of Jan Lenica and Walerian Borowczyk. Gizycki writes that THE VOYAGE was a harbinger of "several other exceptional works that described phenomena as simple as that leaf that descended to the ground in the park alley" ("Film Quarterly", 19-20/1997). (via)
"Dobranocka" (1997)
Filmography
Frank Mouris
Created by Frank Mouris - This animated short features two soundtracks - in one, Frank narrates an autobiography,in the other, he reads off a list of words beginning with the letter "f." Tying the two soundtracks together and influencing their subject matter is the animated collage of photos collected from magazines - all arranged by theme and each theme merging into the next. Written by Heather McCabe (via)
Frank Film (1973)
"The financial benefits of winning the 1973 Oscar for Frank Film were more indirect than one might have expected. Our distributor sold and rented many prints to most of the major libraries, museums and universities, so we had a nice income supplement for a few decades, but it certainly wasn't enough to live on. Caroline and I, singly and/or together, did get a number of film grants over the years, enabling us to pay for most of the costs of Coney and Screentest (animated documentaries), impasse (abstract character animation), LA LA, Making It In L.A. (documentary with animated slide sequences), and now (at last, at length, finally...) Frankly Caroline (cutout animation again), but we certainly weren't paid for our considerable time. The commercial work offered right after the Oscar was either repetitious/simplistic (the titles for Rhoda), or risky (weekly bicoastal commutes for Bicentennial Minutes; helicopter footage of a trip across the USA), so we turned it down. Later, we enjoyed doing quickie television commercials (is there ever enough time?) for Levi's Shirts and Nickelodeon Toys, but mostly others just knocked off our style and did it for cheap. The Oscar probably helped us get freelance animation work (Sesame Street, MTV, VHI, HBO Comedy, Nickelodeon, Nick at Nite, Nighttime Entertainment, PBS, ITVS, Cartoon Network, PETA, Disney and Universal TV), but showing Frank Film and our evolving showreel was at least as important.
Caroline and I did Frank Film just to do that one personal film that you do to get the artistic inclinations out of your system before going commercial. Then we planned to join the industry, as you call it, armed with her MBA and my MFA. Instead, we became fiercely independent filmmakers, only interested in doing new films, whatever the genre, and not just repeating ourselves in one area of film. You could say winning the Oscar gave us the courage to pursue this personal film quest, but in fact, Frank Film had previously won the Grand Prix at the Annecy International Animation Festival and most other foreign and domestic film competitions and festivals. John Hubley was kind enough to warn me at Annecy that it was hard to turn down commercial work once you got into it, and that he and Faith were lucky to get a personal film done every summer, so I should leave plenty of time for our own work. I guess I took him a little too seriously, but when he died early, unexpectedly, it was sobering. Caroline and I are thrilled to be back with another totally hand-made film, Frankly Caroline, coming out in a few months." (via)
Frank Film (1973)
"The financial benefits of winning the 1973 Oscar for Frank Film were more indirect than one might have expected. Our distributor sold and rented many prints to most of the major libraries, museums and universities, so we had a nice income supplement for a few decades, but it certainly wasn't enough to live on. Caroline and I, singly and/or together, did get a number of film grants over the years, enabling us to pay for most of the costs of Coney and Screentest (animated documentaries), impasse (abstract character animation), LA LA, Making It In L.A. (documentary with animated slide sequences), and now (at last, at length, finally...) Frankly Caroline (cutout animation again), but we certainly weren't paid for our considerable time. The commercial work offered right after the Oscar was either repetitious/simplistic (the titles for Rhoda), or risky (weekly bicoastal commutes for Bicentennial Minutes; helicopter footage of a trip across the USA), so we turned it down. Later, we enjoyed doing quickie television commercials (is there ever enough time?) for Levi's Shirts and Nickelodeon Toys, but mostly others just knocked off our style and did it for cheap. The Oscar probably helped us get freelance animation work (Sesame Street, MTV, VHI, HBO Comedy, Nickelodeon, Nick at Nite, Nighttime Entertainment, PBS, ITVS, Cartoon Network, PETA, Disney and Universal TV), but showing Frank Film and our evolving showreel was at least as important.
Caroline and I did Frank Film just to do that one personal film that you do to get the artistic inclinations out of your system before going commercial. Then we planned to join the industry, as you call it, armed with her MBA and my MFA. Instead, we became fiercely independent filmmakers, only interested in doing new films, whatever the genre, and not just repeating ourselves in one area of film. You could say winning the Oscar gave us the courage to pursue this personal film quest, but in fact, Frank Film had previously won the Grand Prix at the Annecy International Animation Festival and most other foreign and domestic film competitions and festivals. John Hubley was kind enough to warn me at Annecy that it was hard to turn down commercial work once you got into it, and that he and Faith were lucky to get a personal film done every summer, so I should leave plenty of time for our own work. I guess I took him a little too seriously, but when he died early, unexpectedly, it was sobering. Caroline and I are thrilled to be back with another totally hand-made film, Frankly Caroline, coming out in a few months." (via)
Sean Donnelly
Ilustrador, animador y realizador californiano afincado en New York, trabaja junto a Lydia Budianto formando Awesome And Modest. (via)
Boy and Girl
deer stank
Otra anim colgada del Youtube :Ben Jelen - Where Do We Go
El blog de Donnelly: sean drawings
Boy and Girl
deer stank
Otra anim colgada del Youtube :Ben Jelen - Where Do We Go
El blog de Donnelly: sean drawings
Tim Hope
After completing a degree in Theology, Tim Hope moved to London where he worked as a stand up comedian for four years. He started to explore the possibilities of computer animation to accompany his live performances. Later he created short animated personalised Birthday Cards for his family and friends as a way of saving money. His next project The Wolfman won a number of awards, including the grand jury prize at the Japan Digital Animation Festival. Tim joined Passion Pictures in May 2000 as a director of music videos and commercials. His promos include Trouble (MTV Award 2001, Best Art Direction) for Coldplay and I Walk the Earth for King Biscuit Time, which won the prize for Best Animated Music Video at Annecy 2001, France (the world's largest animation festival). Hope has since directed music videos for One Giant Leap, Jimmy Eat World, Disney and R.E.M. and commercials including Hewlett Packard, Acura and Playstation 2. (via)
"The Wolfman" (1999)
Coldplay - "Don't Panic"
Coldplay - "Trouble"
"The Wolfman" (1999)
Coldplay - "Don't Panic"
Coldplay - "Trouble"
Walerian Borowczyk
Walerian Borowczyk (nacido en Kwilcz, Polonia, en 1923, y fallecido en París, en 2006) fue el clásico ejemplo de cineasta elevado a lo más alto del favor de los críticos, sobre todo a partir de sus premiadas animaciones estrenadas en los años cincuenta y sesenta, y de sus primeros tres largometrajes de ficción. Desde mediados de los años setenta hasta bien entrados los ochenta, la misma crítica desdeñó sus filmes y maldijo su nombre. Artista polivalente, de larguísima y variada carrera (tal vez en ello radique el secreto de la muy cambiante opinión de muchos críticos), Borowczyk fue pintor, grafista, escritor y sobre todo cineasta especializado en el tema erótico, un cineasta dotado, según André Breton, de una “imaginación fulgurante”.
"Scherzo Infernal" (1984)
En 1951, Borowczyk concluía sus estudios en la Facultad de Artes Gráficas de la Academia de Artes de Varsovia, y dos años después obtenía el gran premio nacional de grafismo por sus carteles para cine, una disciplina que en Polonia alcanza un relieve excepcional. A partir de 1946, había realizado algunos cortometrajes de animación, pero tuvo que esperar a 1957 para recibir el reconocimiento general con Èrase una vez..., que dirigió junto con Jan Lenica, y fue premiada en Venecia y Mannheim. Como se hace evidente en Sentimientos correspondidos (1957), que alcanzó el premio máximo de la crítica polaca, Borowczyk y Lenica intentaban revolucionar el cine de animación polaco al introducir el humor negro, gags surrealistas y una técnica nueva basada en la repartición del guión en escenas. En 1958 vendría la total consagración con La casa, realizada también en colaboración con Lenica, por la que recibieron el gran premio en Bruselas, sobre todo en virtud de la utilización de técnicas mixtas para mostrar las fantasías sexuales de una mujer que espera aburrida en su casa.
"Dom-La casa" (1958)
En la misma década en que alcanzó relevancia mundial la Escuela de Lodz (segunda mitad de los años cincuenta y primera de los sesenta), sobre todo mediante cineastas empeñados en releer la historia, los mitos y la literatura nacional, como Andrzej Wajda y Jerzy Kawalerowicz, entre otros, llegaba a las artes visuales europeas Borowczyk, un cineasta que manifestaba notoria inclinación por el surrealismo, la sicología individual y las fantasías inconfesables. Así se hace patente en su colaboración con Chris Marker, Los astronautas, de 1959, una sátira sobre la exploración espacial plena de elementos farsescos y grotescos.
"Les Astronautes" (1959) 1/2
"Les Astronautes" (1959) 2/2
En 1959 se asienta en París, donde realizó la mayor parte de su obra, y donde transcurriría el resto de sus días. Entre los cortos animados que realizó en esta primera etapa francesa se cuentan Renaissance (1963), que muestra la reconstrucción de objetos destruidos a partir del recurso de la reverse motion.
"Renaissance" (1963)
Pesimista y cínica, Jeux des Anges (1965) describe la macabra excursión a los campos de concentración de ángeles que se entretienen en masacrar a los prisioneros, acompañados de música religiosa. A esta etapa pertenece también su primer largo de ficción animado, con actores reales intercalados, Le Théâtre de M. et Me Kabal (1965), expresión altamente estilizada y surrealista de la crueldad y el terror, alegoría del cambio, la decadencia y la libertad aprisionada. La trama, violenta y medio nihilista, ocurría entre un marido soñador, amante de las mariposas, y una esposa descomunal, con la cabeza de un buitre. La idea del largo procedía del corto Le concert de M. et Mme Kabal (1962), al igual que ocurriría con numerosos cortometrajes animados de esta etapa, en los cuales el cineasta encontraría inspiración para los posteriores largos de ficción con actores. En los dos filmes sobre la pareja Kabal, Borowczyk juega con sus personajes, altera constantemente la cabeza de Madame Kabal, reemplazándola con todo tipo de apariencias, desde una bomba hasta La Gioconda. El agresivo y nihilista surrealismo de estos dos filmes ha sido juzgada por muchos como la anticipación de los dibujos animados de Bill Plympton.
Le concert de M. et Mme Kabal (1962)
En 1966, dirigió Le Dictionnaire de Joachim, premiada en Oberhausen, y Rosalie, galardonada en Berlín, Bérgamo y Cracovia, a partir de una historia escrita por Guy de Maupassant, en cuya puesta se combinan actores reales y figuras animadas con stop-motion. El filme dramatiza la confesión de una muchacha en una corte respecto al aborto clandestino al cual se sometió. Mientras ella habla, la cámara sobrevuela de manera fetichista sobre los instrumentos implicados en el delito. Borowczyk se las arregla para conseguir que el espectador se identifique con la muchacha y justifique su crimen, solo para sugerir al final que todo no es más que una ilusión representada, que se lleva a cabo solo para subrayar la habilidad del cineasta en la manipulación del sentido sobre el bien y el mal.
Fragmento del artículo "Walerian Borowczyk: sin límites entre lo placentero y lo pecaminoso" de Joel del Río (via)
"Encyclopedia de Grand Maman" (1963)
"Scherzo Infernal" (1984)
En 1951, Borowczyk concluía sus estudios en la Facultad de Artes Gráficas de la Academia de Artes de Varsovia, y dos años después obtenía el gran premio nacional de grafismo por sus carteles para cine, una disciplina que en Polonia alcanza un relieve excepcional. A partir de 1946, había realizado algunos cortometrajes de animación, pero tuvo que esperar a 1957 para recibir el reconocimiento general con Èrase una vez..., que dirigió junto con Jan Lenica, y fue premiada en Venecia y Mannheim. Como se hace evidente en Sentimientos correspondidos (1957), que alcanzó el premio máximo de la crítica polaca, Borowczyk y Lenica intentaban revolucionar el cine de animación polaco al introducir el humor negro, gags surrealistas y una técnica nueva basada en la repartición del guión en escenas. En 1958 vendría la total consagración con La casa, realizada también en colaboración con Lenica, por la que recibieron el gran premio en Bruselas, sobre todo en virtud de la utilización de técnicas mixtas para mostrar las fantasías sexuales de una mujer que espera aburrida en su casa.
"Dom-La casa" (1958)
En la misma década en que alcanzó relevancia mundial la Escuela de Lodz (segunda mitad de los años cincuenta y primera de los sesenta), sobre todo mediante cineastas empeñados en releer la historia, los mitos y la literatura nacional, como Andrzej Wajda y Jerzy Kawalerowicz, entre otros, llegaba a las artes visuales europeas Borowczyk, un cineasta que manifestaba notoria inclinación por el surrealismo, la sicología individual y las fantasías inconfesables. Así se hace patente en su colaboración con Chris Marker, Los astronautas, de 1959, una sátira sobre la exploración espacial plena de elementos farsescos y grotescos.
"Les Astronautes" (1959) 1/2
"Les Astronautes" (1959) 2/2
En 1959 se asienta en París, donde realizó la mayor parte de su obra, y donde transcurriría el resto de sus días. Entre los cortos animados que realizó en esta primera etapa francesa se cuentan Renaissance (1963), que muestra la reconstrucción de objetos destruidos a partir del recurso de la reverse motion.
"Renaissance" (1963)
Pesimista y cínica, Jeux des Anges (1965) describe la macabra excursión a los campos de concentración de ángeles que se entretienen en masacrar a los prisioneros, acompañados de música religiosa. A esta etapa pertenece también su primer largo de ficción animado, con actores reales intercalados, Le Théâtre de M. et Me Kabal (1965), expresión altamente estilizada y surrealista de la crueldad y el terror, alegoría del cambio, la decadencia y la libertad aprisionada. La trama, violenta y medio nihilista, ocurría entre un marido soñador, amante de las mariposas, y una esposa descomunal, con la cabeza de un buitre. La idea del largo procedía del corto Le concert de M. et Mme Kabal (1962), al igual que ocurriría con numerosos cortometrajes animados de esta etapa, en los cuales el cineasta encontraría inspiración para los posteriores largos de ficción con actores. En los dos filmes sobre la pareja Kabal, Borowczyk juega con sus personajes, altera constantemente la cabeza de Madame Kabal, reemplazándola con todo tipo de apariencias, desde una bomba hasta La Gioconda. El agresivo y nihilista surrealismo de estos dos filmes ha sido juzgada por muchos como la anticipación de los dibujos animados de Bill Plympton.
Le concert de M. et Mme Kabal (1962)
En 1966, dirigió Le Dictionnaire de Joachim, premiada en Oberhausen, y Rosalie, galardonada en Berlín, Bérgamo y Cracovia, a partir de una historia escrita por Guy de Maupassant, en cuya puesta se combinan actores reales y figuras animadas con stop-motion. El filme dramatiza la confesión de una muchacha en una corte respecto al aborto clandestino al cual se sometió. Mientras ella habla, la cámara sobrevuela de manera fetichista sobre los instrumentos implicados en el delito. Borowczyk se las arregla para conseguir que el espectador se identifique con la muchacha y justifique su crimen, solo para sugerir al final que todo no es más que una ilusión representada, que se lleva a cabo solo para subrayar la habilidad del cineasta en la manipulación del sentido sobre el bien y el mal.
Fragmento del artículo "Walerian Borowczyk: sin límites entre lo placentero y lo pecaminoso" de Joel del Río (via)
"Encyclopedia de Grand Maman" (1963)
Lotte Reiniger
Lotte Reiniger fue una figura única e irrepetible dentro de la Historia del Cine. Cultivó, hasta llegar a alcanzar la más absoluta perfección, un arte singular: el de las siluetas recortadas y luego animadas gracias a la cámara cinematográfica. Provista de un par de tijeras y papel negro era capaz de crear universos hechizados, criaturas maravillosas, zarzales encantados, cigüeñas negras, mágicas mantillas voladoras, hacer crecer palacios voladores desde la nada, o demonios malévolos que nos acecharan por siempre. Nació en 1899, en el barrio de Charlottenburg, en Berlín. Tuvo una larga vida, a la que ella contribuyó a dotar el mundo de belleza y encanto. Junto a su marido, Carl Koch, compañero inseparable y sostén técnico de la mayoría de sus filmes, realizó más de cuarenta películas, todas con la técnica excluyente de las siluetas recortadas. Y casi todas ellas fueron cortometrajes excepto un único y excepcional largometraje: "Las aventuras del príncipe Achmed", el primer largo de animación de la historia. A los ochenta y dos años, muere en el pueblo de Dettenhausen, ubicado en la en la región de Tubinga, en el centro de Alemania. Más allá de la importancia que posee su obra dentro de la historia del cine de animación y de la fascinación que produce su visión, lo cierto es que los filmes de Lotte Reiniger sirven también como un estupendo vehículo para introducirnos en el análisis y conceptualización de tres de los modos expresivos cinematográficos más interesantes y singulares: los llamados cines de "vanguardia", "abstracto" y "experimental". Al combinar lo actual de siluetas perfectamente recortadas, con bordes nítidos, que dejan presumir perfectamente la organicidad de las figuras presentadas, pero, a la vez, sustrayéndole a esas mismas figuras los atributos diferenciales, los detalles que nos permitirían reconocerlas como totalidad, Reiniger pone en evidencia lo que otros dispositivos cinematográficos disimulan: la tensión entre lo orgánico y lo inorgánico, entre lo representativo actual y la imagen virtual que solo habita en nuestra imaginación, en nuestras mentes. Es esa tensión, que se despliega sobre la idea de Movimiento, la base común que liga a la vanguardia con la abstracción y a estas dos con el incómodo término de "experimental". Lo cierto es que las películas de Reiniger sugieren más de lo que muestran. Hacen estallar, en los momentos precisos, unos ojos por donde todo el amor o todo el odio se precipitan. Ocultan o velan esos detalles que nos harían conferirle a sus criaturas características "realistas". El arte de Lotte fue el de renegar de la lógica utilitaria del realismo convencional, aquel que constituye nuestra torpe realidad cotidiana, para potenciar aún más los afectos, la pasión y la emoción. Sus aventuras son las de un alma errante en busca de la intensidad de la luz. (via)
"The Little Shimney Sweep" (1954)
"Jack and the Beanstalk," (1955)
CHC
wikipedia
"The Little Shimney Sweep" (1954)
"Jack and the Beanstalk," (1955)
CHC
wikipedia
Leigh Hodgkinson
In 1995, after completing an art foundation course, Leigh went to University in Hull, leaving with a first in graphic design. 1999 saw her starting a post-graduate course at the National Film and Television School in Animation Direction where she made two short animated films, "Excess Baggage" and "Novelty". "Novelty" has since toured the world at countless festivals bringing home numerous prizes and awards including the 2002 British Animation Award for Best Creative Use of New Media.
Since leaving the NFTS, Leigh has made a further three films; the first, "Matryoshka", was for Sonimation, a sound and animation collaboration commission that toured the UK in 2001. The second, "Sprung", was a one minute film which was made on channel 4's 2001 TV series "Celmates", where 5 animators were locked in a room for 72 hours with only pencils, computers and their wits and left to create a film. The third, "Moo(n)", a Channel 4/AIR commission, was completed in 2003 and is still being screened at festivals internationally. Moo(n) has won several awards and commendations, and was selected for The Sundance Film Festival 2004.
Moo(n) (2003)
Leighs latest short film Stalk was commissioned as part of the Pulse scheme with the London Film Fund. Stalk is currently travelling around the world in ResFest and other international festivals. It has just been screened at the London Film Festival and has just picked up an award at Winterthur Short Film Festival 2005 (for the outstanding directorial achievement).
She has recently completed work at Tiger Aspect as art director for a new 26 episode animated series called "Charlie and Lola", based on the books by Lauren Child.
Leigh is represented by Slinky Pictures as one of their exclusive animation directors. (via)
"Flighty"
hoonpatrol (página de la autora con alguna de sus originales realizaciones)
Since leaving the NFTS, Leigh has made a further three films; the first, "Matryoshka", was for Sonimation, a sound and animation collaboration commission that toured the UK in 2001. The second, "Sprung", was a one minute film which was made on channel 4's 2001 TV series "Celmates", where 5 animators were locked in a room for 72 hours with only pencils, computers and their wits and left to create a film. The third, "Moo(n)", a Channel 4/AIR commission, was completed in 2003 and is still being screened at festivals internationally. Moo(n) has won several awards and commendations, and was selected for The Sundance Film Festival 2004.
Moo(n) (2003)
Leighs latest short film Stalk was commissioned as part of the Pulse scheme with the London Film Fund. Stalk is currently travelling around the world in ResFest and other international festivals. It has just been screened at the London Film Festival and has just picked up an award at Winterthur Short Film Festival 2005 (for the outstanding directorial achievement).
She has recently completed work at Tiger Aspect as art director for a new 26 episode animated series called "Charlie and Lola", based on the books by Lauren Child.
Leigh is represented by Slinky Pictures as one of their exclusive animation directors. (via)
"Flighty"
hoonpatrol (página de la autora con alguna de sus originales realizaciones)
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