From Far Away

Total Page:16

File Type:pdf, Size:1020Kb

From Far Away From Far Away ROM FAR AWAY This touching story tells of TO ORDER NFB VIDEOS, Saoussan, a young girl struggling CALL TODAY! to adjust to a new world after 1-800-267-7710 (Canada) being uprooted from her wartorn 1-800-542-2164 (USA) homeland. She has come to seek a quieter and safer life in Canada www.nfb.ca/tales pi n ners although memories of war and death linger, and she must cope 6 minutes 39 seconds with a new language and culture. Cgioo 021 From Far Away speaks to the power within us all to adapt like Closed captioned. Saoussan and to welcome a A decoder is required. newcomer. ^ 2002 A licence is required for any From Far Away is part of the reproduction, television broadcast, sale, rental or public screening. Only educational institutions or non-profit organizations who Created for children aged five to have obtained this video directly from the nine, Talespinners uses vibrant NFS or an authorized distributor have the animation to bring popular stories right to show this video free of charge to the public. from a wide range of cultural communities to the screen. National Film Board of Canada PO Box 6100, Station Centte-Ville Montreal, Quebec W^C 3Hs Directors: Printed in Canada Shira Avni, Serene EI-Haj Daoud Based on the book by Producer: Michael Fukushima ROBERT MUNSCH AND SAOUSSAN ASKAR VMS C9100 021 A National Film Board of Canada Production Born in Petakh Tikvah, Israel, in 1974, ShiraAvni was raised in Montreal. An incorrigible doodler and puppet maker, Shira found herself graduating Collection Magna Cum Laudefrom Concordia University with a BFA in Animation in 1998. Her student work earned her the Dean's Award in 1997 and the Cinema Prize the following year. Her first film, 48 Second Blues, won Best Animated Video at the Montreal World Film Festival's student competition in 1997. Shira's graduate studies at the Art Institute of Chicago Written by: SUGITH VARUCHESE began in 2001. From Far Away is her first pro- FROM FAR AWAY fessional film. Study guide Voice: JESSE V1NET A. Welcoming a Newcomer C. Fears Digital imaging: Serene El-Haj Daoud was born in Riyadh, Saudi CATHERINE LAFORTUNE Imagine that a new student from a Everybody has experienced fear. Arabia, in 1975, where she lived as a Palestinian foreign country will be corning to When you were younger, what were Digital imaging specialist: refugee until her family immigrated to Montreal in NORMAND GAUTHIER your class who doesn't speak you afraid of and how did you deal 1989. She graduated from Champlain Regional English or French. How will you with this fear? Who helped you? Picture edi I ing: College in Creative Arts in 1995 and completed her make her feel welcome? Brainstorm GORDON HASHIMOTO BFA in Film Animation at Concordia University. ten words, phrases or sentences to Serene received several grants and awards at Music and teach her so that she will feel RELATED NFB VIDEOS sound design: Concordia for her student films, including the Zlatko comfortable at school and on the A Monster's Calling: An animated NORMAND ROGER Grgic Award in 1996, and the Dean's Award the school bus. Would you change tale of a monster that roams the following year. Her films The Poem, The Riddle, and With the anything if the new student were a house at night scaring the collaboration of: Underneath All Currents were screened at boy? Why? children, knowingwhat each one is DENISCHARTRAND Concordia's Animation Festival in 1998. The Poem afraid of. was also shown as part of the student competition Sound editing: B. Halloween |EAN-BAPTISTE ROGER of the 1997 Montreal World Film Festival. How did Halloween become Classes: An animated tale of a little Re-recording: associated with pumpkins, skele- boy in Grade i who is humiliated in SERGE EOIVIN tons, black cats, witches, orange- the classroom and on the playing JEAN PAUL VIALARD and-black things and candy? What field because he can't see well. A Executive producer: is the origin of this holiday? Where pair of glasses changes everything! ISOBEL MARKS Direction and animation: in the world is it celebrated? Why is DAVID VERRALL SHIRAAVNI it not celebrated everywhere? SERENE EL-HAJ DAOUD Producer: MICHAEL FUKUSHIMA Based on the book For more teaching ideas, recommended reading From Far Away and related NFB videos, visit: by Robert Munsch and Saoussan Askar www.nfb.ca/talespinners First published by Annick Press Ltd, Toronto. Order number Bob Murisch Enterprises Ltd and Saoussan Askar 1995 Cgioo 021.
Recommended publications
  • Press KIT the Film
    A film by press KIT The film Can time be made to stand still? Can it be reversed? life and intercuts them with the mother’s surrea- Koji Yamamura’s Muybridge’s Strings is a medi- listic daydreams — a poetic clash that explores the tation on this theme, contrasting the worlds of the irrepressible human desire to seize life’s fleeting photographer Eadweard Muybridge — who in 1878 moments, to freeze the instants of happiness. successfully photographed consecutive phases Enriched by Koji Yamamura’s refined artistry in the movement of a galloping horse — and a and Normand Roger’s soundtrack, Muybridge’s mother who, watching her daughter grow up, Strings observes the ties that cease to bind, fixes realizes she is slipping away from her. Moving its gaze on the course of life, and presents a between California and Tokyo, between the nine- moment in time suspended on the crystalline teenth century and the twenty-first, the film focuses notes of a canon by J.S. Bach. on some of the highpoints in Muybridge’s troubled g N RI Muybridge’S ST — PRESSKIT 2 eadweard Muybridge The designer of an ingenious system for capturing the consecutive movements of a galloping horse, photographer Eadweard Muybridge (1830–1904) is regarded as a pioneer in the field of photo- graphic analysis of motion. He began his photo- graphic experiments in 1872, but was forced to interrupt them after shooting and killing his wife’s lover. In 1879, he resumed them on various animals and, starting in 1886, on human subjects. In 1880, he developed the zoogyroscope, for projecting photographs in series, and replaced it in 1889 with an improved version called the zoopraxiscope which was inspired by the work of Émile Reynaud.
    [Show full text]
  • Mumbai International Film Festival 2018 Cover
    CONTENTS Foreword 3 Messages 5 Juries 11 Competition International 17 Competition National 43 Prism International 87 Prism National 109 Best of Fest 133 Retrospective 143 Homage 169 Special Package 181 Student Films 299 Masterclass, Interactive Session, Panel Descussion, Workshop 315 Special Screenings 322 Selection Committee 332 Organising Committee 334 Index of Films 337 FILMS th DIVISION Presents 15 MUMBAI INTERNATIONAL FILM FESTIVAL DOCUMENTARY I SHORT I ANIMATION With the support of GOVERNMENT OF MAHARASHTRA 28th JANUARY TO 3rd FEBRUARY 2018 At: Films Division Theatres Russian Centre for Science & Culture 24, Dr. G Deshmukh Marg, Mumbai & 31-A, Dr. G Deshmukh Marg, Mumbai Festival Director MANISH DESAI Chief Coordinator Programming Team SWATI PANDEY V. PACKIRISAMY PREMRAJ RAJAGOPALAN Festival Coordinator M. CHELLAPANDIAN ANIL KUMAR N. PRAMOD PATIL Publication Unit Head Design coordinator, Cover page R. K. CHANDEL ASHISH DAS, ANKIT MEHROTRA & TEAM Festival Cell Layout Artist PRAKASH S. BODAS & HIS TEAM DNYANESH Patil (Uchitha) Editor SANJAY Wadhwa Films Division Designed, Processed and Printed at 24, Dr. G. Deshmukh Marg Uchitha Graphic Printers Pvt. Ltd. Mumbai 400026 65, Ideal Industrial Estate Tel: 022-23513176 Mathuradas Mills Compound E: [email protected] Senapati Bapat Marg, Lower Parel W: www.miff.in Mumbai - 400013, India W: www.filmsdivision.org Tel: 9122 4033 6400 Copyright: Director, MIFF 2018 FOREWORD he much-awaited 15th Mumbai International Film Festival relevant and important do not go unnoticed. It is here that MIFF (MIFF 2018) is finally here with more energy and passion stands out and hence has established itself as one of the top Tto deliver the best to all our participants.
    [Show full text]
  • 1996-'1997 1995-'1996
    OFFICE NATIONAL DU FILM DU CANADA NATIONAL FILM BOARD OF CANANDA Ottawa, septembre 1997 L‘Honorable Sheila Copps Ministre du Patrimoine canadien Ottawa, Ontario Madame la ministre, J’ai l’honneur de VOUS présenter, conformément aux dispositions de l’article 20(1) de la Loi nationale sur le film de 1950, le Rapport annuel du cinquante-huitième exercice financier de l’Office national du film du Canada, se terminant le 31 mars 1997. Le document fait également état des événements marquants survenus au cours de cette année d’activités. Je vous prie d’agréer, Madaine la ministre, l’assurance de ma considération disiinguée. n Sandra Macdonald Commissaire du gouvernement à la cinématographie et présidente Profil de I‘ONF - Comité de direction -a -Membres du conseil d’administration ._f Message de la présidente -9 Faits saillants -r’ Quelques chiffres -i/ mProductions Versions et adaptations 3 O Sommaire des activités - Production .%‘3 .%3 Sommaire des activités - Distribution canadienne ___3 4 Sommaire des activités - Distribution internationale 33 Sommaire des activités - Services techniques 3 fi Palmarès 37 États financiers ___43 Bureaux de L’ONF et partenaires cfl L‘Office national du film du Canada est un lieu exceptionnel de création de matériel audiovisuel. Son mandat est toujours de produire et distribuer des films et autres documents audiovisuels destinés aux auditoires canadiens et aux marchés étrangers, dans le but de mieux faire connaître et comprendre les réalités sociales et culturelles du Canada. Ses films sont produits dans les deux langues officielles et ce, par l’entremise de ses Programmes français et anglais, de ses propres cineastes ainsi que de cinéastes indkpendants de toutes les régions du pays.
    [Show full text]
  • Music, Sound & Animation
    April 1997 Vol. 2 No. 1 Music,Music, SoundSound && AnimationAnimation Andrea Martignoni on Pierre Hébert’s La Plante humaine William Moritz on The Dream of Color Music Carl Stalling’s Humor Voice Acting 101 Table of Contents 3 Editor’s Notebook A Word on Music and Animation; Harry Love. 5 Letters to the Editor The Thief and the Cobbler. Children’s Workshops; Errata. 8 The Ink and Paint of Music Amin Bhatia recounts a day in his life as an “electronic composer” for animated TV shows, explaining his tools and techniques. 11 The Burgeoning of a Project: Pierre Hébert’s La Plante humaine [English & Italian] Andrea Martignoni delves into Pierre Hébert’s radical method for marrying animation with music. 20 The Dream of Color Music, and Machines That Made it Possible William Moritz gives a quick and dazzling historical overview attempts to create visual music using “color organs.” 25 Who’s Afraid of ASCAP? Popular Songs in the Silly Symphonies From 1929 to 1939, Disney’s Silly Symphonies united animation with a rich array of music, including such songs as “Who’s Afraid of the Big Bad Wolf.” J.B. Kaufman reports. 28 Carl Stalling and Humor in Cartoons Daniel Goldmark shows how Carl Stalling, who may have been the most skilled and clever composer of car- toon music Hollywood ever had, used music to create gags and help tell a story at the same time. 31 Voice Acting 101 So, you want to be a voice actor? Well, Joe Bevilacqua tells you all you ever wanted to know, drawing on his experience and that of some of Hollywood’s top voice talent.
    [Show full text]
  • Venue Partner Supported By
    Venue partner Supported by The Film & Video Workshop is an educational charity dedicated to helping people make animation and films We have 17 years of experience working in the film industry from our purpose-built London studio stop motion after effects animation animation techniques puppet making courses AE BAFTA winning tutor • specialists in animation • 17 years of teaching experience video production intensive video production taster production courses courses from as little as £55 craft of editing avid introduction nal cut pro beginners post-production nal cut pro advanced nal cut pro X dvd studio pro courses booking@filmworkshop.com www.filmworkshop.com 020 7607 8660 Directors Message Here we go again – another year, another festival. Time never seems to stand still at LIAF HQ, though sometimes we wish it did. Writing this introduction to the festival is like a sort-of taking stock for me. A time to reflect on the year that’s been. Moving LIAF two months later in the year (and into ‘festival season’ as everyone keeps telling me) is probably the biggest change for us this year. Out of late Summer and into early Autumn, where the nights are drawing in. Will that mean more people will be wanting to gather inside the warm, darkened spaces of the cinema? Let us see. We hope so, for once again we have scoured the globe and feasted on 2,300 + little animated gems from around the world in order to craft the festival that you see before your beady eyes. 277 films from 36 countries, and the usual broad mix of everything from scratch films, pinscreen, time-slice, live-action/animation hybrids, puppet, clay, drawn, scribbled and a whole lotta’ “how the hell have they done that?” films.
    [Show full text]
  • Le Son Dans Les Films De 1, 2, 3 Léon
    LE SON DANS LES FILMS DE 1, 2, 3 LÉON Madame Poule Comme elle habite à la campagne, Tali - la réalisatrice, est allée enregistrer des poules pour la bande- son ; quatre heures d’enregistrement dans lesquelles il a fallu chercher pour trouver les différentes émotions. La bande-son s’est calée sur les images et non le contraire ! Ce qui est assez rare. La bouche cousue Jean-Luc Greco : « Pour le titre, bouche cousue signifie bien : discrétion absolue, et l’article “la” avant ajoute l’idée de la fermeture Éclair que l’on décide de garder fermée. » Musique : Serge Besset Serge Besset, musicien compositeur, est pianiste du groupe vocal Evasion voix d'ici et d'ailleurs. Son nom est associé au réalisateur de films Jacques-Rémy Girerd avec qui Serge Besset travaille depuis 1984. Serge Besset a ainsi composé la musique de nombreux films d'animation des studios Folimage (en particulier Une vie de chat, dans le dispositif Ecole et cinéma). Il participe à des débats sur les compositeurs de films d'animation en 2001 à Anima (festival international des professionnels de l'animation), dans le cadre du Festival du dessin animé et du film d'animation de Bruxelles, en Belgique. Voix off : Bernard Bouillon Bernard Bouillon est un acteur français pratiquant également le doublage (Lucas, inspecteur de police dans Une vie de chat). Il collabore avec Serge Besset et Folimage. C’est aussi lui qui est voix off dans l’Hiver de Léon (narrateur et personnage de Boniface). Ingénieur du son, création sonore, monteur son… : Loïc Burkhardt La bande son pourrait presque fonctionner toute seule, comme un récit sonore tant la musique de Serge Besset qui ouvre et ferme l’histoire, les bruitages de Loïc Burkhardt (bruits de circulation, bruits du bus) apportent une vraie matière, ainsi que l’interprétation du comédien Bernard Bouillon.
    [Show full text]
  • ASIFA Nov 2019 Copy
    Nov 2019 THE INTERNATIONAL ANIMATION ASSOCIATION ANIMATION INTERNATIONAL THE THE INTERNATIONAL ANIMATION ASSOCIATION c/o K Cohen 478 Frederick SF CA 94117 through the village and through the countryside. After driving through a forest they go off-road across a field full of red flowers. Again this might not be an important memory for many people, but for Regina it was a simple joyful experience and she shares with us that pleasure in her artwork. There are also elements in the film that add a sense of discord. The uncle quietly recites numbers and writes them down in ledger books. We don’t understand Thomas’ obsession with numbers, but in the Q and A Pessoa explained he ran the family business, carving stonework for buildings, and at some point it went bankrupt. She speculated her uncle was obsessed with THE NATIONAL FILM BOARD OF CANADA trying to figure out where he went wrong running it. CONTINUES TO PRODUCE EXCEPTIONAL The film not only depicts an uncle I wanted to WORKS THAT EXPLORE NEW DIRECTIONS IN know more about, but her art is fascinating to watch. ANIMATION Each year there are several memorable She creates drawings and textures in a style unlike the animated shorts released that are charming and well art of past and present animators. Her images appear to executed, but what is extremely rare is the film that be black and white engravings; however, they are presents a new concept of what a great work of created with a computer. Her sharp thin lines are precise animation can be.
    [Show full text]
  • Social Dimensions of Hollywood Movie Music Michael Pinsonneault
    Social Dimensions of Hollywood Movie Music Michael Pinsonneault The Department Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy at Concordia University Montreal, Quebec, Canada 8 Michael Pinsomeault, 1999 National Library Bibliothèque nationale 1*1 of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, rue Wellington OttawaON KtAOW Ottawa ON K1A ON4 Canada Canada Youi hie Vctre iehrwrw Our file Noire rererence The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sel1 reproduire, prêter, distribuer ou copies of ths thesis in microforrn, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantid extracts fiom it Ni la thèse ni des extraits substantiels may be printed or othewise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Abstract Social Dimensions of Film Music Content Michael Pinsonneault, PbD. Concordia University, 1999 This thesis argues that various processes based in the social dimensions of our lives affect film accompanists, composers, and their work in a direct and pertinent fashion. Mediating social infiuences act upon the relationships between film musicians and the institutions or formations within which they function, and reflect the esonomic and political preoccupations of those collective bodies.
    [Show full text]
  • The Usual Stereotypical Image Suggests That Canada Is the Home of Ice-Hockey, Vast Northern Woodlands and Eccentric Independent Films
    Faculty of Arts Department of English and American Studies English Language and Literature Tereza Janáčková Specific Features of Canadian Animated Film Master’s Diploma Thesis Supervisor: doc. PhDr., Tomáš Pospíšil, Dr. 2011 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Tereza Janáčková 2 Acknowledgement I would like to thank doc. PhDr. Tomáš Pospíšil, Dr. for his encouragement and his helpful advice. I also want to thank to my friends for their patience. 3 Table of Contents 1. Introduction ............................................................................................................. 6 2. Basic information ................................................................................................... 11 2.1 What is animation? ......................................................................................... 11 2.2 Author animation ............................................................................................ 13 2.3 The status of animated film ............................................................................ 15 2.4 Where does Canadian animation stand in the scope of the world cinema? .... 16 3. NFB ......................................................................................................................... 17 3.1 Pre-NFB era .................................................................................................... 19 3.2 NFB- legislation .............................................................................................
    [Show full text]
  • The Gift of Fantasy Has Meant More to Me Than My Talent for Absorbing Positive Knowledge
    BLLECTOR ^ "The gift of fantasy has meant more to me than my talent for absorbing positive knowledge. Albert Einstein eonard is a six-year-old with an unusual hobby. His older brother ridicules Story, Animation, him; his father says he's a daydreamer. But Leonard has a wonderful way Direction Œ to liven up a rainy day. He collects sounds. His attentive ear and lively Lynn Smith imagination transform household noises into marvelous fantasies. With sound upon Sound Track and Music sound he builds his story, creating for his brother an exciting adventure in which Normand Roger Dracula is thwarted and knights-in-armor chase away monsters and perform daring Picture Editor deeds. Jacques Drouin Animation Cameraman Pierre Landry his versatile animation film lends itself to a variety of classroom uses. It will Sound Effects be particularly popular with Art and Language Arts teachers for stimulating Ken Page, C.F.E. young children's creativity. As a discussion starter, it can serve to gener- Re-recording nate dialogue on relationships within a family, individuality and imagination. Jean-Pierre Joutel Produced by Lynn Smith Ishu Patel he Sound Collector uses a combination of artistic techniques; colored inks David Verrall and paints on glass illustrate the fantasy sequences and collage paper cut- Executive Producer louts from magazines are used to animate the main story. The idea for David Verrall the film resulted from the filmmaker's fascination with how sounds work and how children respond imaginatively to what they hear. Produced and distributed by National Film Board of Canada 16 mm Color Screening time: 11 minutes 55 seconds National Office 35 mm: 105C 0182 057 Film Board national du film 16 mm: 106C 0182 057 of Canada du Canada Video: 116C 0182 057 Study Guide Although this guide is directed toward primary level teachers, many of the suggestions can be easily adapted for use with older students, parent groups, and teacher education.
    [Show full text]
  • The Hockey Sweater As Canadian Identity: a Contemporary Reading
    Taboo: The Journal of Culture and Education Volume 12 | Issue 1 Article 5 December 2008 What Does Quebec Want? The oH ckey Sweater as Canadian Identity: A Contemporary Reading Sandra Chang-Kredl Follow this and additional works at: https://digitalcommons.lsu.edu/taboo Recommended Citation Chang-Kredl, S. (2017). What Does Quebec Want? The ockH ey Sweater as Canadian Identity: A Contemporary Reading. Taboo: The Journal of Culture and Education, 12 (1). https://doi.org/10.31390/taboo.12.1.05 SandraTaboo, Chang-Kredl 2008 17 What Does Quebec Want? The Hockey Sweater as Canadian Identity: A Contemporary Reading Sandra Chang-Kredl The Hockey Sweater/Le chandail de hockey (1979) is a story that has become a part of Canada’s national identity. Its film and book versions appear in elementary school classrooms across Canada and a representation from the story is reprinted on our federal currency. The representation includes an illustration of a child playing hockey while wearing a sweater with Maurice Richard’s number 9 and an excerpt in French and English: Les hivers de mon enfance étaient des saisons longues, longues. Nous vivons en trois lieux: l’école, l’église et la patinoire, mais la vrais vie était sur la patinoire. The winters of my childhood were long, long seasons. We lived in three places—the school, the church, and the skating rink—but our real life was on the skating rink. This excerpt and scene from The Hockey Sweater represent a stereotypical Canada, characterized by its long, cold winters and its pride in winter sports—with a small nod to education and religion.
    [Show full text]
  • Animation: a World History Volume III: Contemporary Times Giannalberto Bendazzi
    This article was downloaded by: 10.3.98.104 On: 01 Oct 2021 Access details: subscription number Publisher: CRC Press Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK Animation: A World History Volume III: Contemporary Times Giannalberto Bendazzi Europe Publication details https://www.routledgehandbooks.com/doi/10.1201/9781315720746-3 Giannalberto Bendazzi Published online on: 17 Nov 2015 How to cite :- Giannalberto Bendazzi. 17 Nov 2015, Europe from: Animation: A World History, Volume III: Contemporary Times CRC Press Accessed on: 01 Oct 2021 https://www.routledgehandbooks.com/doi/10.1201/9781315720746-3 PLEASE SCROLL DOWN FOR DOCUMENT Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. 3 EUROPE Great Britain: The Wonderful intended for adult audiences, and quite deliberately so. 1 That policy was formulated on the basis of trying to be Years different from other television channels. Animation for It is not possible to discuss British animation2 from the adults was scarcely seen on British television.’5 Channel 1990s onwards without talking about Channel 4.
    [Show full text]