DOCSLIB.ORG

Press Release

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Press Release Press Release INDEX 1.- Exhibition details and credits ............................................................... 3 2.- Introduction ........................................................................................... 4 3.- Exhibition texts ...................................................................................... 6 4.- Programme of side events ................................................................... 8 5.- Catalogue ............................................................................................. 13 6.- Filmmakers’ bios ................................................................................. 15 7.- Curator’s bio ........................................................................................ 17 8.- General information ............................................................................ 18 A production of: Sponsored by: With the support of: 2 1.- EXHIBITION DETAILS AND CREDITS «Metamorphosis. Fantasy Visions in Starewitch, Švankmajer and the Quay Brothers» is a production of the Centre de Cultura Contemporània de Barcelona (CCCB) and La Casa Encendida Fundación Caja Madrid. The exhibition will at the CCCB from 25th March to 7th September 2014 and La Casa Encendida from 2nd October 2014 to 11th January 2015. PROJECT DIRECTOR Rosa Ferré CURATOR Carolina López Caballero ADVISOR Andrés Hispano CURATOR’S ASSISTANT AND COORDINATOR Miquel Nogués EXHIBITION DESIGN Estudi Francesc Pons GRAPHIC DESIGN Mario Eskenazi Dani Rubio ACTIVITIES COORDINATOR Anna Escoda AUDIOVISUALS Documentation: Gloria Vilches, with the assistance of Laura Rius Editing: José Antonio Soria Installation: CCCB Audiovisuals Department PRODUCTION AND ASSEMBLY COORDINATORS CCCB Exhibitions Service CCCB Production and Assembly Unit REGISTRY Registry and Conservation Unit ASSEMBLY OF THE EXHIBITION Torrecilla Espais LIGHTING CCCB Production and Assembly Unit TRANSPORT Feltrero División Arte INSURANCE Hiscox Europe Underwriting And the support of the External Resources and Information Service, Administration and General Services, and the CCCB Documentation and Debate Centre. 3 2.- INTRODUCTION «Metamorphosis. Fantasy Visions in Starewitch, Švankmajer and the Quay Brothers» Starewitch Švankmajer Quay Brothers Fantasy as a redoubt of absolute freedom arrives at the CCCB with Starewitch, Švankmajer and the Quay Brothers, key figures in animated movie-making, whose work is presented in depth here for the first time in Spain. Jan Švankmajer and the Quay Brothers are creating an installation specially for the show that also brings together works by Goya, Ensor, Kubin, Arcimboldo, Méliès and Luis Buñuel, plus many more. The exhibition “Metamorphosis”, curated by experimental film specialist Carolina López Caballero, presents the oeuvre of four key figures in animation cinema: the Russian resident in Paris, Ladislas Starewitch (1882-1965), a pioneer in the genre, the Czech master Jan Švankmajer (1934) and the unclassifiable Quay Brothers (1947), recently the subject of an exhibition at the New York MoMA. This exhibition is a coproduction of the Centre de Cultura Contemporània de Barcelona and La Casa Encendida Fundación Caja Madrid, where it will continue after its run at the CCCB, from 2 October 2014 to 11 January 2015. Though little known to the general public, these filmmakers are hugely influential in various fields of contemporary creation as references for, among others, filmmakers Tim Burton and Terry Gilliam. This is the first time that the work of these four artists has been presented in depth in Spain, but what makes it a real international event is the fact that it brings together the work of these four animators engaged in an explicit dialogue: the Quay Brothers are self- confessed admirers of Jan Švankmajer, and the three are accompanied by Starewitch. The exhibition swings back and forth between the specific world of each of these artists and their shared universe, with the direct participation of Jan Švankmajer and the Quay Brothers, who are producing an installation specially for the show. The leading thread is a presentation of their careers in cinema and the pieces they have used and constructed to make their films: sets, puppets, drawings and objects. 4 Alongside it, an array of literary, artistic and cinematographic references illustrate the influences recognised by the artists: fairytales, horror stories, the world of dreams, the cabinet of curiosities, pre-enlightenment science, alchemy, magic and illusionism come together in the exhibition galleries in the form of works by foremost creators like Francisco de Goya, James Ensor, Alfred Kubin, Giuseppe Arcimboldo, Méliès and Luis Buñuel. This is an imaginary that ranges from dark romanticism, symbolism and surrealism to the present day, especially in genres regarded as marginal, which in the hands of these animators become the most radical modernity. The exhibition sets out to rediscover and awaken curiosity in a brotherhood of artists who with their radicalness, imagination and their very stance are open to reinterpretation in the framework of culture today and a contextualization of their potential for subversion. The “Metamorphosis” experience (the exhibition plus its parallel activities of a film cycle and talks) begs a reflection on the curiosity/knowledge duality and the new role of the marginal in contemporary creation. At a time of oversaturation of information, it is important to redefine the concept of marginality. Like the cabinets of curiosities of the 17th century, the exhibition breaks the logic of relations between objects and between sources of materials, juxtaposing different categories to create an eccentric landscape. A landscape between sleeping and waking, where innocence, cruelty, voluptuousness, magic and madness rub shoulders. A disturbing surrealist landscape that is poetic and lucid, sometimes grotesque, sometimes phantasmagorical, populated with fable insects that love and suffer, puppets that laugh at the world or refuse to give in to their obsessions, characters who play, who dream, and who love the unproductive and the futile. The project reflects on the interest that many contemporary creators have in ways to generate meaning which, as in the Kunstkammer, organized and structure themselves regardless of strict hierarchy, like the avant-garde associative techniques of collage and assembly, prompting us to wonder whether the Internet is the new cabinet of curiosities of the 21st century. CREATORS PRESENT IN THE EXHIBITION Ladislas Starewitch | Jan Švankmajer | Quay Brothers | Leonardo Alenza Giuseppe Arcimboldo | Walerian Borowczyk | Charles Bowers | Luis Buñuel | Émile Cohl | Segundo de Chomón Salvador Dalí | Monsu Desiderio | James Ensor | Loie Fuller | Francisco de Goya | Jean Grandville | Emma Hauck | Atanasio Kircher Alfred Kubin | Charles Le Brun | Eugenio Lucas | Marey | Josep Masana Méliès | Joaquim Pla Janini | Lotte Reiniger | Bruno Schulz | Irène Starewitch Eva Švankmajerová | Robert Walser 5 3.- EXHIBITION TEXTS THE SECRET LIFE OF OBJECTS Metamorphosis presents the works of four key figures in the field of animated films: the pioneering Russian animator of Polish origin who made his home in Paris, Ladislas Starewitch (1882-1965), the Czech master, Jan Švankmajer (1934), and the Quay Brothers (1947), who were born in Pennsylvania but have lived in London for the past three decades. Three unique filmographies that, nonetheless, have a great deal in common: an eccentric universe of slumber where innocence, cruelty, voluptuousness, magic and madness coexist. A troubling, poetic, lucid and, at times grotesque, at times phantasmagorical, landscape of people who love the unproductive and futile. Theirs is a cinema of resistance against narrative conventions which is impervious to the rationalising hygiene modernity has imposed. In the face of the world of the adult and the correct, Starewitch’s imagination, Švankmajer’s provocation and the Quay Brothers’ permanently convalescing characters put themselves forward as an unexpected invitation to freedom. Animated cinema is the demiurgic art par excellence: matter comes to life and is transformed in the hands and imaginations of the creators. They, more than anybody, know about the secret life of objects. The exhibition also showcases a large number of artistic and cinematographic references which trace the spheres of interest these filmmakers are drawn to: fairytales, horror stories, the world of dreams, cabinets of curiosities, pre-Enlightenment science, alchemy and illusionism. ONCE UPON A TIME THERE WAS A FOREST For centuries, forests marked the boundaries of civilisation and became a refuge for the magical and mysterious. By entering their deceptive paths and imposing nature, the central characters of fairytales embark on a journey of initiation fraught with dangers and challenges from which they emerge transformed, aware for the first time of their capabilities. The forest is the night, a symbolic journey to the terrifying subconscious onto which we can project our innermost fears, the space of the primitive and atavistic. It is the realm where the big bad wolf lives, as well as fairies and goblins; the realm over which adults have no control. LADISLAS STAREWITCH Starewitch was a pioneer and undisputed master of puppet animation, a self-taught filmmaker, a trained anthropologist and an amateur entomologist. He was born in Moscow in 1882 to Polish parents and made more than 100 films in Lithuania, in Russia and, from 1920 onwards, in France. His
Load more

Recommended publications
  • The Silence of Lorna
    Surviving Life (Přežit Svůj Život) a film by Jan Švankmajer Czech Republic / Slovakia 109 mins/ Certificate 15 DVD release date: June 11 2012 FOR ALL PRESS ENQUIRIES OR TO REQUEST IMAGES PLEASE CONTACT:- Sue Porter/Lizzie Frith – Porter Frith Ltd Tel: 020 7833 8444/ E-Mail: [email protected] FOR ALL OTHER ENQUIRIES PLEASE CONTACT:- Robert Beeson – New Wave Films 10 Margaret St London W1W 8RL Tel: 020 3178 7095/ E-Mail: [email protected] Further information on www.newwavefilms.co.uk new wave films Surviving Life Director Jan Švankmajer Script Jan Švankmajer Producer Jaromír Kallista Co‐Producers Juraj Galvánek, Petr Komrzý, Vít Komrzý, Jaroslav Kučera Associate Producers Keith Griffiths and Simon Field Music Alexandr Glazunov and Jan Kalinov Cinematography Jan Růžička and Juraj Galvánek Editor Marie Zemanová Sound Ivo Špalj Animation Martin Kublák, Eva Jakoubková, Jaroslav Mrázek Production Design Jan Švankmajer Costume Design Veronika Hrubá Production Athanor / C‐GA Film CZECH REPUBLIC/SLOVAKIA 2010 ‐ 109 MINUTES ‐ In Czech with English subtitles CAST Eugene , Milan Václav Helšus Eugenia Klára Issová Milada Zuzana Kronerová Super‐ego Emília Došeková Dr. Holubová Daniela Bakerová Colleague Marcel Němec Antiquarian Jan Počepický Prostitute Jana Oľhová Janitor Pavel Nový Boss Karel Brožek Fikejz Miroslav Vrba SYNOPSIS Eugene (Václav Helšus) leads a double life ‐ one real, the other in his dreams. In real life he has a wife called Milada (Zuzana Kronerová); in his dreams he has a young girlfriend called Eugenia (Klára Issová). Sensing that these dreams have some deeper meaning, he goes to see a psychoanalyst, Dr. Holubova, who interprets them for him, with the help of some argumentative psychoanalytical griping from the animated heads of Freud and Jung.
    [Show full text]
  • The Uses of Animation 1
    The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator.
    [Show full text]
  • Contenido Estrenos Mexicanos
    Contenido estrenos mexicanos ............................................................................120 programas especiales mexicanos .................................. 122 Foro de los Pueblos Indígenas 2019 .......................................... 122 Programa Exilio Español ....................................................................... 123 introducción ...........................................................................................................4 Programa Luis Buñuel ............................................................................. 128 Presentación ............................................................................................................... 5 El Día Después ................................................................................................ 132 ¡Bienvenidos a Morelia! ................................................................................... 7 Feratum Film Festival .............................................................................. 134 Mensaje de la Secretaría de Cultura ....................................................8 ......... 10 Mensaje del Instituto Mexicano de Cinematografía funciones especiales mexicanas .......................................137 17° Festival Internacional de Cine de Morelia ............................11 programas especiales internacionales................148 ...........................................................................................................................12 jurados Programa Agnès Varda ...........................................................................148
    [Show full text]
  • Film Appreciation Wednesdays 6-10Pm in the Carole L
    Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced.
    [Show full text]
  • Jan Švankmajer - Wikipedia, the Free Encyclopedia 2/18/08 6:16 PM
    Jan Švankmajer - Wikipedia, the free encyclopedia 2/18/08 6:16 PM Jan Švankmajer From Wikipedia, the free encyclopedia Jan Švankmajer (born 4 September 1934 in Prague) is a Jan Švankmajer Czech surrealist artist. His work spans several media. He is known for his surreal animations and features, which have greatly influenced other artists such as Tim Burton, Terry Gilliam, The Brothers Quay and many others. Švankmajer has gained a reputation over several decades for his distinctive use of stop-motion technique, and his ability to make surreal, nightmarish and yet somehow funny pictures. He is still making films in Prague at the time of Still from Dimensions of Dialogue, 1982 writing. Born 4 September 1934 Prague, Czechoslovakia Švankmajer's trademarks include very exaggerated sounds, often creating a very strange effect in all eating scenes. He Occupation Animator often uses very sped-up sequences when people walk and Spouse(s) Eva Švankmajerová interact. His movies often involve inanimate objects coming alive and being brought to life through stop-motion. Food is a favourite subject and medium. Stop-motion features in most of his work, though his feature films also include live action to varying degrees. A lot of his movies, like the short film Down to the Cellar, are made from a child's perspective, while at the same time often having a truly disturbing and even aggressive nature. In 1972 the communist authorities banned him from making films, and many of his later films were banned. He was almost unknown in the West until the early 1980s. Today he is one of the most celebrated animators in the world.
    [Show full text]
  • Depaul Animation Zine #1
    Conditioner // Shane Beam D i e F l u c h t / / C a r t e r B o y c e 2 0 1 6 S t u d e n t A c a d e m y A w a r d B r o n z e M e d a l 243 South Wabash Avenue Chicago, IL 60604 #1 zine a z i n e e x p l o r i n g t h e A n i m a t i o n C u l t u r e a t D e P a u l U n i v e r s i t y in Chicago R a n k e d t h e # 1 0 A n i m a t i o n M F A P r o g r a m a n d # 1 4 A n i m a t i o n P r o g r a m i n t h e U . S . b y A n i m a t i o n C a r e e r R e v i e w i n 2 0 1 8 D e P a u l h a s 1 3 f u l l - t i m e A n i m a t i o n p r o f e s s o r s , o n e o f t h e l a r g e s t f u l l - t i m e A n i m a t i o n f a c u l t i e s i n t h e U S , w i t h e x p e r t i s e i n t r a d i t i o n a l c h a r a c t e r a n i m a t i o n , 3 D , s t o r y b o a r d i n g , g a m e a r t , s t o p m o t i o n , c h r a c t e r d e s i g n , e x p e r i m e n t a l , a n d m o t i o n g r a p h i c s .
    [Show full text]
  • Michael-Nottingham-Downing-The-Folk-Festive-Menacing-Meals-In-The-Films-Of-Jan
    EnterText 4.1 MICHAEL NOTTINGHAM Downing the Folk-Festive: Menacing Meals in the Films of Jan Svankmajer Jan Svankmajer is perhaps best known as an animator of clay figures and marionettes who casts his creations in stories adapted from or inspired by gothic or central European folk literature. Svankmajer’s films are immediately recognisable by their inanimate actors’ stylised gestures, movement and appearance, yet they also have in common a less obvious thematic signature in their overriding fixation with the oral and in particular their recurrent images of food and consumption. Svankmajer has said of this, “I was a non-eating child—my mother always forced me to eat.”1 While personal experience no doubt plays an important role in the gestation and realisation of his narratives—Svankmajer has often credited his childhood as an important if not his major well of ideas—one suspects there is more to this than he is letting on. An examination of his work suggests other influences, including the Czech variants of surrealism and communist censorship that he was to embrace and suffer respectively, as well as the aesthetic and ideological underpinnings of the grotesque and Michael Nottingham: Downing the Folk-Festive 126 EnterText 4.1 folk-festive, which characterise much of his early central European and gothic source material. Since 1964, Svankmajer has been making films—primarily short films, but more recently a handful of feature-length efforts—that combine stop-motion animation with live action to uncanny and often blackly humorous effect. A self-described “militant surrealist,” Svankmajer’s efforts extend beyond the screen to the graphic and plastic arts—in fact, he practised only these between 1972 and 1979 when state censors forbade him to make films.
    [Show full text]
  • The Quay Brothers: Choreographed Chiaroscuro, Enigmatic and Sublime Author(S): Suzanne H
    The Quay Brothers: Choreographed Chiaroscuro, Enigmatic and Sublime Author(s): Suzanne H. Buchan Source: Film Quarterly, Vol. 51, No. 3 (Spring, 1998), pp. 2-15 Published by: University of California Press Stable URL: http://www.jstor.org/stable/1213598 Accessed: 04/04/2010 08:30 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=ucal. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to Film Quarterly. http://www.jstor.org The Quay Brothers Since the early 1980s, animation has received increasing attention from cinema and television pro- grammers and is gradually being in- corporated as a viable genre in film studies.
    [Show full text]
  • National Gallery of Art Spring 2012 Film Program
    FILM SPRING 2012 National Gallery of Art 9 Art Films and Events 16 Japanese Divas 24 American Originals Now: Ernie Gehr 27 Michael Cacoyannis 31 The Tales of Jan Švankmajer 34 Bill Morrison: Recent Work The Miners’ Hymns p. 34 National Gallery of Art cover: Hanezu p. 9 Films are screened in the Gallery’s East Building Audito- The spring film season brings key restorations, new works, rium, Fourth Street and Pennsylvania Avenue NW. Works and special guests in a celebration of the art of the moving are presented in original formats and seating is on a image. Japanese Divas spotlights thirteen feature films, first-come, first-seated basis. Doors open thirty minutes primarily from the 1950s, by auteurs such as Yasujiro Ozu, before each show and programs are subject to change. Kenji Mizoguchi, and Akira Kurosawa, who collaborated For more information, visit www.nga.gov/programs/film, with major acting talents like Setsuko Hara, Machiko Kyo, e-mail [email protected], or call (202) 842-6799. Hideko Takamine, Kinuyo Tanaka, and Isuzu Yamada to develop some of the most revered films of the twentieth century. The spectacular world of Joan Miró is explored through a program of short nonfiction profiles of the artist by his friend, famed Catalan director Pere Portabella. The Gallery welcomes back renowned pianist Dennis James in a program of American silents, as well as conductor Gillian B. Anderson, who leads a performance of original scores developed for shorts by Segundo de Chomón. Other pro- grams present the work of legendary Czech animator Jan Švankmajer, two titles by the late Greek director Michael Cacoyannis, three programs of recent shorts by contem- porary American director Bill Morrison, and a weekend of films and videos by the deeply influential avant-garde filmmaker Ernie Gehr, who will appear in person.
    [Show full text]
  • Surrealist Sources of Eastern European Animation Film
    BALTIC SCREEN MEDIA REVIEW 2013 / VOLUME 1 / ARTICLE Article Surrealist Sources of Eastern European Animation Film ÜLO PIKKOV, Estonian Academy of Arts; email: [email protected] 28 DOI: 10.1515/bsmr-2015-0003 BALTIC SCREEN MEDIA REVIEW 2013 / VOLUME 1 / ARTICLE ABSTRACT This article investigates the relationship between surreal- ism and animation fi lm, attempting to establish the char- acteristic features of surrealist animation fi lm and to deter- mine an approach for identifying them. Drawing on the interviews conducted during the research, I will also strive to chart the terrain of contemporary surrealist animation fi lm and its authors, most of who work in Eastern Europe. My principal aim is to establish why surrealism enjoyed such relevance and vitality in post-World War II Eastern Europe. I will conclude that the popularity of surrealist animation fi lm in Eastern Europe can be seen as a continu- ation of a tradition (Prague was an important centre of surrealism during the interwar period), as well as an act of protest against the socialist realist paradigm of the Soviet period. INTRODUCTION ing also in sight the spatiotemporal context Surrealism in animation fi lm has been of production. an under-researched fi eld. While several It must be established from the out- monographs have been written on authors set that there are many ways to understand whose work is related to surrealism (Jan and interpret the notion of “surrealist ani- Švankmajer, Brothers Quay, Priit Pärn, Raoul mation fi lm”. In everyday use, “surreal” often Servais and many others), no broader stud- stands for something obscure and incom- ies on the matter exist.
    [Show full text]
  • A Film by the Quay Brothers
    A FILM BY THE QUAY BROTHERS A ZEITGEIST FILMS RELEASE A FILM BY THE QUAY BROTHERS THE PIANO TUNER OF EARTHQUAKES is the breathtakingly beautiful and long-awaited second feature from the Quay Brothers. On the eve of her wedding, the beautiful opera singer Malvina is mysteriously killed and abducted by a malevolent Dr. Droz. Felisberto, an innocent piano tuner, is summoned to Droz’s secluded villa to service his strange musical automatons. Little by little Felisberto learns of the doctor’s plans to stage a “diabolical opera” and of Malvina’s fate. He secretly conspires to rescue her, only to become trapped himself in the web of Droz’s perverse universe... Starring Amira Casar (Catherine Breillat’s ANATOMY OF HELL), Assumpta Serna (Pedro Almodovar’s MATADOR), Cesar Sarachu (the Quays’ INSTITUTE BENJAMENTA) and Gottfried John (Fassbinder’s MARRIAGE OF MARIA BRAUN). THE QUAY BROTHERS The extraordinary Quay Brothers are two of the world’s most original filmmakers. Identical twins who were born in Pennsylvania in 1947, Stephen and Timothy Quay studied illustration in Philadelphia before going on to the Royal College of Art in London, where they started to make animated shorts in the 1970s. They have lived in London ever since, making their unique and innovative films under the aegis of Koninck Studios. Influenced by a tradition of Eastern European animation, the Quays display a passion for detail, a breathtaking command of color and texture, and an uncanny use of focus and camera movement that make their films unique and instantly recognizable. Best known for their classic 1986 film STREET OF CROCODILES, which filmmaker Terry Gilliam recently selected as one of the ten best animated films of all time, they are masters of miniaturization and on their tiny sets have created an unforgettable world, suggestive of a landscape of long-repressed childhood dreams.
    [Show full text]
  • Quaybrothers PREVIEW.Pdf
    contents 6 Foreword Glenn D. Lowry 8 Acknowledgments 10 THE MANIC DEPARTMENT STORE New Perspectives on the Quay Brothers Ron Magliozzi 16 THOSE WHO DESIRE WITHOUT END Animation as “Bachelor Machine” Edwin Carels 21 O N DECIPHERING THE PHARMACIST’S PRESCRIPTION FOR LIP-READING PUPPETS A project by the Quay Brothers 28 PlATES 62 Works by the Quay Brothers 63 Selected Bibliography 64 Trustees of The Museum of Modern Art The book also contains a project by the Quay Brothers on the front and back inside covers. Ron Magliozzi t is gratifying to report, right at the start, that the As illustrators, stage designers, and film- The twins’ “facility for drawing”6 was encouraged by reputed inaccessibility of the Quay Brothers’ work is a makers in a range of genres, the Quays have their family. At home, snowy pastoral landscapes of a Imyth. The challenge of deciphering meaning and narra- penetrated many fields of visual expression red barn at different distances were hung side by side, tive in the roughly thirty theatrical shorts and two features for a number of different audiences, from coincidentally suggesting a cinema tracking shot. Stark that the filmmakers have produced since 1979 is real avant-garde cinema and opera to publication countryside landscapes dotted with trees appeared indeed, a characteristic of their work that they adopted art and television advertising. Looking at commonly in their youthful drawings, often with ele- on principle when they were still students. Interpreters of their artistic endeavors as a whole, in the ments of telling human interest, as in Bicycle Course for their stop-motion puppet films, such as the defining Street context of fresh biographical information and Aspiring Amputees (1969) and Fantasy-Penalty for of Crocodiles (1986), have described them as alchemists, new evidence of their creativity, provides Missed Goal (c.1968).
    [Show full text]