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The 26Th Society for Animation Studies Annual Conference Toronto
Sheridan College SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence The Animator Conferences & Events 6-16-2014 The Animator: The 26th oS ciety for Animation Studies Annual Conference Toronto June 16 to 19, 2014 Society for Animation Studies Paul Ward Society for Animation Studies Tony Tarantini Sheridan College, [email protected] Follow this and additional works at: http://source.sheridancollege.ca/conferences_anim Part of the Film and Media Studies Commons SOURCE Citation Society for Animation Studies; Ward, Paul; and Tarantini, Tony, "The Animator: The 26th ocS iety for Animation Studies Annual Conference Toronto June 16 to 19, 2014" (2014). The Animator. 1. http://source.sheridancollege.ca/conferences_anim/1 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Book is brought to you for free and open access by the Conferences & Events at SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. It has been accepted for inclusion in The Animator by an authorized administrator of SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. For more information, please contact [email protected]. THANK YOU TO OUR SPONSORS THE ANIMATOR THEThe 26th Society forANIMATOR Animation Studies Annual Conference TheToronto 26 Juneth Society 16 to 19, 2014 for www.theAnimation animator2014.com Studies @AnimatorSAS2014 Annual Conference Toronto June 16 to 19, 2014 • www.the animator2014.com • @AnimatorSAS2014 WELCOME Message from the President Animation is both an art and skill; it is a talent that is envied the world over. Having a hand in educating and nurturing some of the finest animators in the world is something for which Sheridan is exceptionally proud. -
Short Film Programme
SHORT FILM PROGRAMME If you’d like to see some of the incredible short films produced in Canada, please check out our description of the Short Film Programme on page 50, and contact us for advice and assistance. IM Indigenous-made films (written, directed or produced by Indigenous artists) Films produced by the National Film Board of Canada NFB CLASSIC ANIMATIONS BEGONE DULL CARE LA FAIM / HUNGER THE STREET Norman McLaren, Evelyn Lambart Peter Foldès 1973 11 min. Caroline Leaf 1976 10 min. 1949 8 min. Rapidly dissolving images form a An award-winning adaptation of a An innovative experimental film satire of self-indulgence in a world story by Canadian author Mordecai consisting of abstract shapes and plagued by hunger. This Oscar- Richler about how families deal with colours shifting in sync with jazz nominated film was among the first older relatives, and the emotions COSMIC ZOOM music performed by the Oscar to use computer animation. surrounding a grandmother’s death. Peterson Trio. THE LOG DRIVER’S WALTZ THE SWEATER THE BIG SNIT John Weldon 1979 3 min. Sheldon Cohen 1980 10 min. Richard Condie 1985 10 min. The McGarrigle sisters sing along to Iconic author Roch Carrier narrates A wonderfully wacky look at two the tale of a young girl who loves to a mortifying boyhood experience conflicts — global nuclear war and a dance and chooses to marry a log in this animated adaptation of his domestic quarrel — and how each is driver over more well-to-do suitors. beloved book The Hockey Sweater. resolved. Nominated for an Oscar. -
Ten Years Supporting, Delivering & Promoting the Whole Spectrum of Animation
TEN YEARS SUPPORTING, DELIVERING & PROMOTING THE WHOLE SPECTRUM OF ANIMATION Directors Message Wow – we made it to our 10th anniversary!! Who would have thought it? From very humble beginnings – our first festival in 2004 screened at the now-defunct Rupert Street Cinema in Piccadilly – to LIAF 2013, 10 days at 3 different venues. We have survived - sort of. Over 10 years we’ve received more than 12,000 entries, screened more than 2,500 films, and had some of the most talented animators in the world come and hang out with us. And we’ve had a ball on the way. It’s time to blow our own trumpet. As well as being the largest festival of it’s kind in the UK in terms of films and programmes screened, we have a substantial touring component and we run satellite events all year-round. We’ve screened at festivals, cinemas, theatres and colleges all around the world and in the UK and hopefully we have spread the word that animation is a valid artform that is only limited by the animator’s imagination. In short, our maxim is that in animation anything can happen. Long may this be. There are far too may people to thank here (hopefully you know who you are) but the guidance and immense work-rate of my co-Director Malcolm Turner has to be acknowledged. Way back when in our ground zero - actually in the year 1999 - I still vividly recall that very first meeting Malcolm and I had with our then-colleague Susi Allender in the back garden of our Melbourne flat. -
Animac 2014 Se Presenta El Próximo Viernes En Barcelona Con El Animador Chris Landreth
ANIMAC 2014 Mostra Internacional de Cine de Animación de Cataluña Del 20 al 23 de febrero Viernes 7 de febrero · 19h Auditorio del CCCB Animac 2014 se presenta el próximo viernes en Barcelona con el animador Chris Landreth Animación híbrida y psicorrealista con la proyección de su galardonado cortometraje Ryan Animac, la Mostra Internacional de Cine de Animación de Cataluña organizada por el Ayuntamiento de Lleida, dedica su 18ª edición a la animación híbrida y su capacidad de integración en todo tipo de formatos. En su presentación en el CCCB de Barcelona, contaremos con un invitado excepcional: Chris Landreth, animador norteamericano aficando en Canadà i especialista en animación CGI –generada por ordenador– de tipo híbrido, experimental y psicorrealista, como el mismo autor afirma. Antes de la presentación, la directora de la Mostra, Carolina López, presentará oficialmente el programa de Animac 2014 y, acto seguido, se proyectará Ryan, escrito y dirigido por Chris Landreth, y galardonado el año 2004 con el Oscar a Mejor Cortometraje Animado. Además, su último cortometraje, Subconscious Password –premiado en Annecy 2013 con el Grand Crystal– formará parte de la sesión inaugural de Animac 2014, del 20 al 23 de febrero en la ciudad de Lleida. Ryan Escrito y dirigido por Chris Landreth, Canadá, 2004, 14’ El mismo Chris Landreth narra la historia de Ryan Larkin, animador canadiense responsable de algunos de los cortometrajes animados más influyentes de los años 60 y 70. Reinterpretando una serie de entrevistas al propio Larkin y a sus amigos y familiares, este documental animado reconstruye la caída en desgracia de Larkin en el alcoholismo y la drogadicción, que incluso acabó mendigando por las calles para poder llegar a fin de mes. -
2010 Program
FESTIVAL PASS $40 (DCAS members/seniors and students), $50 (general public) Note: A festival pass does not guarantee entry into a screening. Please arrive 15 minutes prior to a screening to ensure entry. PASSES & TICKETS SINGLE SCREENING ADMISSION The Dawson City International Short Film Festival is presented by the $6 (DCAS members/seniors & students), $7 (general public) KLONDIKE INSTITUTE OF ART AND CULTURE. We gratefully acknowledge the support of KIAC’s funding agencies and partners for making this possible. DCAS (Dawson City Arts Society) membership: $15 For further information on KIAC and its programs, All events take place at The Odd Fellows Hall, please visit our website at www.kiac.ca 2nd & Princess unless otherwise noted. www.dawsonfilmfest.com Festival Producer: Dan Sokolowski Programming: Dan Sokolowski, Kerry Barber, Tara Rudnickas Projectionists: Florian Boulais, Megan Graham, Aaron Burnie Executive Director: Karen DuBois Front of House Manager: Karen MacKay Programs Manager: Tara Rudnickas Concession Manager: Georgia Fraser Programs Coordinator: Jenna Roebuck Cover and Poster Artworks: Veronica Verkley Administrative Assistant: Kerry Barber Program Design: Dan Sokolowski Gallery Director: Lance Blomgren Festival Committee Klondike Institute of Art and Culture Lulu Keating: Chair, Florian Boulais, Gail Calder, Suzanne Crocker, Box 8000, Dawson City, Yukon Y0B 1G0 Canada Stephanie Davidson, Kit Hepburn, Bill Kendrick, Gord MacRae, tel: 867 993 5005 Daisyanne Maguire, John Overell, Evelyn Pollock, Meg Walker fax: 867 993 5838 [email protected] www.kiac.ca 2010 DAWSON CITY INTERNATIONAL SHORT FILM FESTIVAL 1 ALL SCREENINGS and EVENTS in the ODD FELLOWS HALL BALLROOM unless otherwise noted. Thursday, 7 pm — Thursday, 9:30 pm Feature film by artists in residence Stefan Popescu and Katherine Berger. -
MIAF13 88Pp V4:Layout 1
13TH MELBOURNE INTERNATIONAL ANIMATION FESTIVAL 1 DIRECTOR’S MESSAGE Malcolm TURNER DIRECTOR: Melbourne International Animation Festival I have a beautiful god-daughter, Alex. I’m lucky to know her. That her My embrace of the ‘new’ – the DCP – couldn’t have started more Mum and Dad would nominate me to play this kind of role in her life fittingly than with the conversion of the legendary Alex Stitt film, GRENDEL is both a privilege for me and, considering my more or less comprehen- GRENDEL GRENDEL. Through a Pozible crowdfunding campaign that sively spectacular lack of preparedness for the gig, something approaching was supported by many true lovers of Australian film we were able to a reckless dereliction of duty on their part. finance the transfer of an unused 35mm print to this digital format. When I am in Australia I am bogged down with the festival and, Meeting and getting to know Alex and Paddy Stitt has been one of the when I’m overseas, I’m getting ready to get bogged down with the festival great delights of this festival cycle. Being able to utilise MIAF as a vehicle – once off the plane, I quite literally hit the tarmac running. It’s a lifestyle to preserve a digital copy of Alex’s first animated feature is about as I love and it makes MIAF possible but skipping out on taking the good as it gets for a festival like MIAF. The openness, generosity and opportunity to be just a liiiiiittle bit more involved in her life is one of the forbearance they have shown throughout this little adventure is here small number of regrets I suspect will settle on me when life’s fog begins acknowledged and gratefully tributed. -
He Said | He Said
CHANTICLEER She Said | He Said Gregory Peebles, Kory Reid, Darita Seth – soprano Cortez Mitchell, Alan Reinhardt, Adam Ward – alto Michael Bresnahan, Brian Hinman, Ben Jones – tenor Eric Alatorre, Matthew Knickman, Marques Jerrell Ruff – baritone and bass Jace Wittig, Interim Music Director I Gaude gloriosa* Giovanni Pierluigi da Palestrina (c. 1525 – 1594) Regina caeli laetare* Tomás Luis de Victoria (c. 1548 – 1611) O frondens virga Hildegard von Bingen (1098 – 1179) Ave Virgo sanctissima Francisco Guerrero (c. 1528 – 1599) II To be selected from: Tirsi morir volea Andrea Gabrieli (c. 1532 – 1585) Quando nascesti, Amor? Adrian Willaert (c. 1490 – 1562) Lasso chi’ardo Willaert Oimè se tanto amate Claudio Monteverdi (1567 – 1643) III Schöne Fremde Fanny Mendelssohn (1805 – 1847) from Gartenlieder Wasserfahrt, op. 50, no. 4 Felix Mendelssohn (1809 – 1847) from Sechs Lieder, op. 50, no. 4 Nachtwache I Johannes Brahms (1833 – 1897) from Fünf Gesänge, op. 104, no. 1 IV Trois Chansons Maurice Ravel (1875 – 1937) 1. Nicolette 2. Trois beaux oiseaux du paradis 3. Ronde V Let Down the Bars, O Death Samuel Barber (1910 – 1981) “Wait” Fantasy* arr. Steve Hackman (b. 1980) “Wait” Music & Lyrics by Anthony Gonzalez/Yann Gonzalez/Morgan Kibby/ Brad Laner/Justin Meldal-Johnsen Commissioned by Chanticleer in 2013 --INTERMISSION-- VI Give me Hunger Stacy Garrop (b. 1969) Commissioned by Chanticleer in 2013 A Boy and a Girl Eric Whitacre (b. 1970) VII Folksongs to be selected from: Flower of Beauty John Clements (1910 – 1986) L’Amour de moy* Trad. French, arr. Alice Parker / Robert Shaw Two Chinese Folksongs Trad. Chinese, arr. Chen Yi / Steven Stucky 小 河 淌 水 (Xiao He Tang Shui) 太阳出来喜洋洋 (Tai Yang Chu Lai Xi Yang Yang) Oy Polná, Polná Koróbushka* Trad. -
Bauhaus Utopia in Crisis
BAUHAUS: UTOPIA IN CRISIS SYMPOSIUM Image: Keeping Up with Kraze, Phoebe Ackers, Camberwell College of Arts, UAL. Photo by David Poultney THURSDAY, 24 OCTOBER 2019 CAMBERWELL COLLEGE OF ARTS This one-day symposium will explore and debate the Bauhaus’ legacy for contemporary artists and designers. Convened by UAL Professor in Painting Daniel Sturgis, and coinciding with the Bauhaus: Utopia in Crisis exhibition at Camberwell Space, the conference looks at how contemporary artists and academics have found inspiration through interrogating the social and political histories associated with the original design school. The symposium brings together speakers from across Europe and the USA and is structured around three panels that explore: how contemporary artists have responded and inhabited the Bauhaus’ historical archive; how artists and curators have sought to reengage with the political context of the Bauhaus to decolonise its history; and how Bauhaus performance is being reassessed as a pedagogical tool. #UALOurHaus #OurHaus SCHEDULE: 09.30-10.00 Registration 10.00-10.30 Welcome and introduction Daniel Sturgis 1: RESPONDING TO THE BAUHAUS ARCHIVES 10.30-11.15 Judith Raum Zombie fabrics Lecture-performance 11.15-11.40 Eva Sajovic The role of the artist in a world of imminent climate breakdown 11.40-12.05 Helen Robertson Pleasure in suspense 12.05-12.30 Panel discussion Chaired by Ben Luke (The Art Newspaper) 12.30-13.30 Lunch 2: DECOLONISING & POLITICISING THE BAUHAUS 13.30-13.55 Grant Watson bauhaus imaginista 13.55-14.20 Sebastian Helm -
The German Pavilion Team Welcomes You at the 52Nd International Art Exhibition La Biennale Di Venezia 2007
Welcome! The German Pavilion team welcomes you at the 52nd International Art Exhibition La Biennale di Venezia 2007. Our press kit comprises following information: • Press information • Information in brief • Isa Genzken´s work “Oil” for the German Pavilion • Conversation between Isa Genzken and Nicolaus Schafhausen • Biography of the artist Isa Genzken • Biography of the curator Nicolaus Schafhausen • Background information of the German Pavilion • Press information of the commissioner Federal Foreign Office (Auswärtiges Amt) • Press information of the collaborator Institute of Foreign Cultural Relations (ifa) • Press information of the main sponsor Deutsche Bank • Press information of the sponsor AXA Art Kunstversicherung • Press information of the media partner DW-TV – Deutsche Welle • Press information of the catalogue partner DuMont Literatur und Kunst Verlag • “Vogue Special German Pavilion” of the media partner Vogue Germany Thank you for your interest in the German Pavilion. We wish you a pleasant and in- spiring stay at Venice! Press Information Isa Genzken Oil German Pavilion La Biennale di Venezia 2007 Isa Genzken is the artist of the German contribution to the 52nd International Art Exhi- bition of the Biennale in Venice. The curator is Nicolaus Schafhausen, director of the Witte de With, Center for Contemporary Art in Rotterdam. For more than thirty years, Genzken (born in 1948) has been producing a diverse oeuvre that is continually being refined with new twists. Her extensive body of work includes sculpture and installations as well as photographs, collages and films. Genzken is creating an exhibition for the German Pavilion in Venice that envelops the architecture of the building, which is steeped in history, and presents it in a mise-en- scène that also comments that history. -
Aims and Characteristics
UNIT 2: Postmodern architecture evolved from the modernist movement, yet contradicts many of the modernist ideas. Combining new ideas with traditional forms, postmodernist buildings may startle, surprise, and even amuse. Familiar shapes and details are used in unexpected ways. Buildings may incorporate symbols to make a statement or simply to delight the viewer. The key ideas of Postmodernism are set forth in two important books by Robert Venturi:Complexity and Contradiction in Architecture and Learning from Las Vegas. Postmodern architecture began as an international style the first examples of which are generally cited as being from the 1950s, but did not become a movement until the late 1970s[1] and continues to influence present- day architecture. Postmodernity in architecture is said to be heralded by the return of "wit, ornament and reference" to architecture in response to the formalism of the International Style of modernism. As with many cultural movements, some of Postmodernism's most pronounced and visible ideas can be seen in architecture. The functional and formalized shapes and spaces of themodernist style are replaced by diverse aesthetics: styles collide, form is adopted for its own sake, and new ways of viewing familiar styles and space abound. Perhaps most obviously, architects rediscovered the expressive and symbolic value of architectural elements and forms that had evolved through centuries of building which had been abandoned by the modern style. Influential early large-scale examples of postmodern architecture are Michael Graves' Portland Building in Portland, Oregon and Philip Johnson's Sony Building (originally AT&T Building) in New York City, which borrows elements and references from the past and reintroduces color and symbolism to architecture. -
Stop Motion & Motion Capture Stop Motion
VolVol 22 IssueIssue 1111 February 1998 Stop Motion & Motion Capture The Politics of Performance Animation FoamFoam PuppetPuppet FrabicationFrabication ExplainedExplained BarryBarry Purves Purves ThrowsThrows DownDown thethe GauntletGauntlet Little Big Estonia InsideInside MedialabMedialab Table of Contents February, 1998 Vol. 2, No. 11 4 Editor’s Notebook Animation and its many changing faces... 5 Letters: [email protected] STOP-MOTION & MOTION-CAPTURE 6 Who’s Data Is That Anyway? Gregory Peter Panos, founding co-director of the Performance Animation Society, describes a new fron- tier of dilemmas, the politics of performance animation. 9 Boldly Throwing Down the Gauntlet In our premier issue, acclaimed stop-motion animator Barry J.C. Purves shared his sentiments on the coming of the computer. Now Barry’s back to share his thoughts on the last two years that have been both exhilarating and disappointing for him. 14 A Conversation With... In a small, quiet cafe, motion-capture pioneer Chris Walker and outrageous stop-motion animator Corky Quakenbush got together for lunch and discovered that even though their techniques may appear to be night and day, they actually have a lot in common. 21 At Last, Foam Puppet Fabrication Explained! How does one build an armature from scratch and end up with a professional foam puppet? Tom Brierton is here to take us through the steps and offer advice. 27 Little Big Estonia:The Nukufilm Studio On the 40th anniversary of Estonia’s Nukufilm, Heikki Jokinen went for a visit to profile the puppet ani- mation studio and their place in the post-Soviet world. 31 Wallace & Gromit Spur Worldwide Licensing Activity Karen Raugust takes a look at the marketing machine behind everyone’s favorite clay characters, Wallace & Gromit. -
Towards a Singular Cinematic Pedagogy: Gilles Deleuze and Manoel De Oliveira
Towards a Singular Cinematic Pedagogy: Gilles Deleuze and Manoel de Oliveira Susana Viegas Universidade Nova de Lisboa, [email protected] Volume 3.2 (2014) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2014.96 | http://cinej.pitt.edu Abstract This paper aims to approach cinema, philosophy, and pedagogy from a double perspective: from the work of the Portuguese filmmaker, Manoel de Oliveira, and from the philosophical praxis of Gilles Deleuze. When Oliveira saw the public lecture that Deleuze gave in 1987 at La Fémis, he felt challenged by the philosopher's words and wrote him a letter in 1991. Furthermore, Deleuze referred to Oliveira’s films as one of the “greatest pedagogies”. Cinema was then seen as a new cartography to the philosophical plane contributing to a mutually reciprocal movement between cinema and philosophy. In this sense, the encounters between cinema and philosophy as well as the connection between cinematic images and philosophical concepts, will be the theme of this essay. Keywords: Gilles Deleuze, Manoel de Oliveira, Cinematic Pedagogy, Philosophy of Film, Portuguese Cinema New articles in this journal are licensed under a Creative Commons Attribution 4.0 United States License. This journal is published by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program and is cosponsored by the University of Pittsburgh Press. Towards a Singular Cinematic Pedagogy: Gilles Deleuze and Manoel de Oliveira Susana Viegas “(…) there's the internal development of cinema as it seeks new audio-visual combinations and major pedagogical lines (not just Rosselini, Resnais, Godard, and the Straubs, but Syberberg, Duras, Oliveira …).”1 Introduction My aim in this essay will be to approach cinema, philosophy, and cinematic pedagogy through and exploration of the interest and impact that the Portuguese filmmaker Manoel de Oliveira (b.