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Document generated on 09/30/2021 2:06 p.m. Séquences La revue de cinéma Principaux collaborateurs Norman McLaren Number 82, October 1975 URI: https://id.erudit.org/iderudit/51319ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this document (1975). Principaux collaborateurs. Séquences, (82), 139–139. Tous droits réservés © La revue Séquences Inc., 1975 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ PRINCIPAUX COLLABORATEURS Hand painted Abstraction 1 Stewart MacAllistair Seven till Five 2 MacAllistair, Wm. J. MacLean Camera makes Whoopee 3 MacAllistaire, MacLean, Helen Biggar Colour Cocktail 0 Hell Unlimited 1 Biggar Advertising shorts 0 Defence of Madrid (McLaren était caméraman) Book Bargain 1 Calvalcanti (producteur) News for the Navy 0 Mony a Picle 0 Love on the Wing 1 Jacques Ibert Obedient Flame 1 Arthur Elton Allegro 0 Rumba 0 Dots 0 Loops 0 Stars & Stripes 1 John P. Sousa Boogie Doodle 1 Albert Ammons Mail Early forX-Mas, '41 1 Benny Goodman V for Victory 1 J.P. Sousa Five for Four 1 Ammons Hen-Hop 1 Folk Music Trio Dollar Dance 3 Louis Applebaum, Guy Glover, Robert Anderson C'est l'aviron 2 Maurice Blackburn, Le Quatuor Alouette Keep your Mouth Shut 0 Là-haut sur ces montagnes 2 Blackburn, Le Quatuor Alouette A Little Phantasy 1 Applebaum Hoppity-pop 1 Joueur d'orgue de barbarie anonyme Fiddle-de-dee 1 Blackburn, Evelyn Lambart, Le Trio lyrique La Poulette grise 3 Eugène Desormeaux A Phantasy 2 Balckburn, René Jodoin Begone Dull Care 2 Oscar Peterson, Lambart Around is Around 2 Applebaum, Chester Beachell Now is the Time 0 Neighbours 3 Grant Munro, Jean Paul Ladouceur, Wolf Koenig Two Bagatelles 1 Munro Blinkity Blank 1 Blackburn Rythmetic 1 Lambart A Chairy Tale 3 Claude Jutra, Ravi Shankar, Lambart Le Merle 3 Blackburn, Trio lyrique, Lambart Short and Suite 1 Eldon Rathburn Serenal 1 Groupe folklorique anonyme Mail Early for X-Mas, '59 1 Groupe musical anonyme Lines Vertical 2 Blackburn, Lambart Opening Speech 1 Arthur Lipsett New York Light-board 3 Jodoin, Ron Tunis, Kaj Pindall Lines Horizontal 2 Pete Seeger, Lambart Canon 2 Munro, Rathburn Mosaic 1 Lambart Pas de deux 4 Ludmilla Chiriaeff, Vincent Warren, Margaret Mercier, Blackburn Spheres 2 J.S. Bach, Jodoin Synchromy 0 Ballet Adagio 3 David et Ann Marie Holmes, Albinoni 140 .

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NORMAN MCLAREN RETROSPECTIVE at Moma
The Museum of Modern Art 50th Anniversary NO. 7 no FOR IMMEDIATE RELEASE NORMAN MCLAREN RETROSPECTIVE AT MoMA As part of NATIONAL FILM BOARD OF CANADA: A RETROSPECTIVE, Norman McLaren, master animator and founder of the Board's an imation unit in 1941, will be honored with a retrospective of virtually all the films he made at NFBC. Part One of MoMA's NFBC Retrospective, ANIMATION, runs from January 22 through February 16, and presents a survey of 150 animated films. Five programs of the extraordinary and influential work of Norman McLaren will be presented from February 12 through 16. "Animation came to the National Film Board of Canada in 1941 with the person of Norman McLaren. In 1943, after having recruited George Dunning, Jim MacKay and Grant Munro, it was McLaren who was put in charge of the first animation workshop. The earliest films were craftsmanlike, having a more utilitarian than aesthetic character. After the war the time of the artist came about. The spirit and goals of the animation unit changed; the styles and techniques became more and more refined leading to today's sophisticated animation." —Louise Beaudet, Head of Animation Department, Cinematheque quebecoise, Montreal "Norman McLaren (Stirling, Scotland, 1914) completed his first abstract films in 1933 while a student at the Glasgow School of Art, Here he attracted the attention of John Grierson, who invited the young man upon graduation to make promotional films for the General Post Office in London. McLaren worked for the GPO from 1936 until 1939 when, at the onset of war, he moved to New York.
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Norman Mclaren Ç”Μå½± Ä¸²È¡Œ (Å¤§Å…¨)
Norman McLaren ç”µå½± ä¸²è¡Œ (å¤§å…¨) Begone Dull Care https://zh.listvote.com/lists/film/movies/begone-dull-care-2937583/actors Christmas Cracker https://zh.listvote.com/lists/film/movies/christmas-cracker-1084175/actors Tarantella https://zh.listvote.com/lists/film/movies/tarantella-2319079/actors Canon https://zh.listvote.com/lists/film/movies/canon-2936441/actors A Chairy Tale https://zh.listvote.com/lists/film/movies/a-chairy-tale-3148578/actors Hell Unltd https://zh.listvote.com/lists/film/movies/hell-unltd-31867659/actors Ballet Adagio https://zh.listvote.com/lists/film/movies/ballet-adagio-33133522/actors Narcissus https://zh.listvote.com/lists/film/movies/narcissus-3336063/actors Pas de deux https://zh.listvote.com/lists/film/movies/pas-de-deux-3367156/actors Blinkity Blank https://zh.listvote.com/lists/film/movies/blinkity-blank-4926773/actors Boogie-Doodle https://zh.listvote.com/lists/film/movies/boogie-doodle-4942828/actors Hen Hop https://zh.listvote.com/lists/film/movies/hen-hop-5712910/actors Keep Your Mouth https://zh.listvote.com/lists/film/movies/keep-your-mouth-shut-59617807/actors Shut Around Is Around https://zh.listvote.com/lists/film/movies/around-is-around-61968208/actors Now Is the Time https://zh.listvote.com/lists/film/movies/now-is-the-time-61968220/actors Spook Sport https://zh.listvote.com/lists/film/movies/spook-sport-64995716/actors Rythmetic https://zh.listvote.com/lists/film/movies/rythmetic-7385455/actors Synchromy https://zh.listvote.com/lists/film/movies/synchromy-7662108/actors Dots https://zh.listvote.com/lists/film/movies/dots-97366567/actors é‚»å±… https://zh.listvote.com/lists/film/movies/%E9%82%BB%E5%B1%85-3562390/actors.
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The Career Of
the career of ^* * 4 y /- WL ^m Pas de deux I. Introduction A study of the history of film in Canada cannot over em to music, but he actually had turned it into a movie. I was phasize the remarkable genius of Norman McLaren. His anima greatly influenced by that film."^ In late 1935, McLaren dis tion films have brought both deUght and wonder to thousands covered Len Lye's "Colour Box" and realized that not only of people here in Canada and in other countries around the was someone else using the same technique as he (that of globe. Len Lye, the Austrahan film pioneer who first painted painting directly onto blank film) but was doing it better. directly on film, once commented, Thus, McLaren continued his exploration of abstract film at "When a film by Norman hits me, I stay hit. Sometimes, he the School even more keenly. simply rocks my kinetic heart, other times he spins it. Once his Meanwhile, McLaren's anti-war sentiments had grown quite work sunk me — I'll tell you how: there I was, looking, when strong: he made a 15 minute silent film called "Hell Un suddenly there came this meat-cleaver of a film effect. It split limited". He then went to Spain as a cameraman for "The me clean down the middle of my spine. One side fell to the Defence of Madrid", a film on the Spanish Civil War; as soon right and the other to the left — then, wham, I slapped together as it was shot, it was brought back to England, edited, and again.
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Rachel Walls – Abstract Inclusion Posted on June 6, 2016 by Amy Ratelle
Animation Studies Online Journal Peer-reviewed Open Access Online Journal for Animation History and Theory – ISSN 1930-1928 Rachel Walls – Abstract Inclusion Posted on June 6, 2016 by Amy Ratelle Tweet 1 Like 0 1 Tweet Abstraction, as an art movement, represents the largest modernisation of visual arts since the Renaissance, reconfiguring how we perceive information on a global scale (Frankel 2012). In shedding representational form and meaning, abstraction presents an evocative sensuality that transcends language and culture. This sensuality provides a strong foothold in commercial visual communications, which has persisted over time. While modern perceptions of the genre demarcate between ‘artistic’ and ‘commercial’ forms of abstraction, the formative period of the genre saw little distinction between art and consumer cultures. Artists such as Len Lye articulate the commercial versatility of abstract animation. Works such as Colour Flight (1956) and Rainbow Dance (1936) exist simultaneously as advertising and art. Fast-forwarding to our modern media experience, abstract animation has faded from the public eye. It has become both an obscure art form and a commercial cipher. Is it possible to bring this vital art form into a more prominent position? In order to address this question, this paper adopts Inclusive Design as a paradigm in order to develop a case for the modern presentation and creation of abstract animation. It considers the disappearance of abstraction as a design problem – which implies that a solution may be considered. Inclusive Design Inclusive Design provides a robust framework promoting considered design for all (Nicolle & Abascal 2001). Derived from earlier trends such as Universal Design, Inclusive Design is common in areas such as industrial design, architecture, and social policy.
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Document généré le 26 sept. 2021 05:16 24 images Un dieu à Volda Donald McWilliams et Robert Daudelin Norman McLaren Numéro 120, décembre 2004, janvier 2005 URI : https://id.erudit.org/iderudit/737ac Aller au sommaire du numéro Éditeur(s) 24/30 I/S ISSN 0707-9389 (imprimé) 1923-5097 (numérique) Découvrir la revue Citer cet article McWilliams, D. & Daudelin, R. (2004). Un dieu à Volda. 24 images, (120), 15–24. Tous droits réservés © 24/30 I/S, 2004 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ Norman McLaren, personnage principal de son propre film Opening Speech: McLaren (1961). À gauche, un photogramme tiré de Love on the Wing (1938) et à droite, un extrait de Blinkity Blank (1955). Il y a quelques mois, alors que j'enseignais à l'University n'entend plus beaucoup parler de McLaren maintenant, et il est College de Volda, en Norvège, un finissant en animation difficile de croire que John Grierson ait pu déclarer un jour que le me prit par surprise quand il commença à me poser des blé et Norman McLaren étaient en tête des exportations canadien questions tout à fait pertinentes sur Norman McLaren.
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ARCHIVO XCÈNTRIC. Autores y películas Ahwesh, Peggy She Puppet Aigelsreiter, Thomas Key West Akerman, Chantal D'Est Hotel Monterey Je Tu Il Elle Jean Dielman, 23 Quai du Commerce, 1080 Bruxelles Les Rendez-vous d'Anna Entretien avec Chantal Akerman Autour de Jeanne Dielman Saute Ma Ville La Chambre Entretien avec Babette Mangolte Entretien avec Aurore Clément News from Home Andersen, Erik Opus 74, version 2 Angerame, Dominic Continuum Premonition Deconstruction Sight Line of Fire In the Course of Human Events Battle Stations - A Navel Adventure Anònima 1126 Dewey Ave., Apt. 207 Arnold, Martin Alone. Life Wastes Andy Hardy Pièce Touchée Passage à l'Acte Azzellini, Dario Disobbedienti Bajtala, Miriam Im Leo Ben (Benjamin Vautier) Je ne vois rien, je n'entends rien, je ne dis rien La Traversée du port de Nice à la nage Faire un effort Regardez-moi, cela suffit Berliner, Alan The Sweetest Sound Nobody's Business Intimate Stranger Bewegung, 5. November Ungustl Atom Bokanowski, Patrick Au Bord du Lac La Femme qui se poudre La Plage Déjeneur du Matin L'Ange Brakhage, Stan Dog Star Man: Prelude Dog Star Man: Part III Dog Star Man: Part IV Ephemeral Solidity Dog Star Man: Part I Dog Star Man: Part II Chartres Series Black Ice Stellar Autumnal Anticipation of the Night The Harrowing & Tryst Haunt Three Homerics Study in Color and Black and White Naughts Night Music Brehm, Dietmar Blicklust Korridor The Murder Mystery Party Macumba Organics Bruckmayr, Didi Ich Bin Traurig Burger, Joerg Peter Kubelka: Restoring Entuziazm Cale, John Police Car Chapelle, Pola Journey to Lithuania Child, Abigail Mutiny Chodorov, Pip End Memory Christanell, Linda Fingerfächer Federgesteck Moving Picture For you Picture Again NS Trilogie - Teil II: Gefühl Kazet All can Become a Rose Change Mouvement in the inside of my Left Hand Clair, René Entr'Acte Cmelka, Kerstin Neurodermitis Collage, Theatergruppe Autoabentung Conrad, Tony The Flicker Crosswaite, David Film No.
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NORMAN Mclaren’S WORK in the HEART of the CITY
Wall-to-Wall MEDIA KIT McLAREN MUR À MUR 1 NORMAN McLAREN’S WORK IN THE HEART OF THE CITY DOWNTOWN MONTREAL’S ENTERTAINMENT DISTRICT, THE QUARTIER DES SPECTACLES, WILL SOON BE TRANS- FORMED INTO A VAST OUTDOOR LABORATORY FOR SEVEN EXPERIMENTAL VIDEO ARTISTS, AND A SPECTACULAR PLAYGROUND FOR PASSERS-BY, AS THE AREA HOSTS McLAREN WALL-TO-WALL, A PLAYFUL CELEBRATION OF THE TREMENDOUS HERITAGE OF THE FOUNDING FATHER OF CANADIAN ANIMATED FILM, NORMAN McLAREN. IN THIS EVENT—A JOINT INITIATIVE OF THE NATIONAL FILM BOARD OF CANADA (NFB) AND THE QUARTIER DES SPECTACLES PARTNERSHIP—SEVEN UNIQUE, SPECIALLY COMMISSIONED VIDEO WORKS INSPIRED BY McLAREN’S FILMS WILL BE PROJECTED ON THE FAÇADES OF SEVEN BUILDINGS IN THIS DISTRICT. McLaren was one of the forerunners of digital art. Throughout his career, he experimented and innovated in his chosen artistic medium, animated film. The Quartier des Spectacles, with cutting-edge architectural projection systems as part of its permanent infrastructure, is the ideal place to present these original video creations that © 1949 ONF© 1949 extend, reinterpret, and dialogue with McLaren’s films in an unforgettable way. From April 11 to June 1, 2014, the McLaren Wall-to- Wall exhibit will light up the night in the cultural heart of Montreal to mark the 100th anniversary of McLaren’s birth. The exhibit consists of seven video works in two categories: three interactive installations by Montrealers Kid Koala (in partnership with Hololabs) and Theodore Ushev (in partnership with Iregular) and Montreal design studio Daily tous les jours, as well as four films selected in an international competition especially for this event.
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Norman Mclaren's Animated Film Rythmetic As Temporal
116 / The Japanese Society for Aesthetics Aesthetics No.15 (2011) Norman McLaren’s Animated Film Rythmetic as Temporal Art KURIHARA Utako Seinan Gakuin University, Fukuoka 1. Introduction Norman McLaren (1914–1987) was a Scottish-born Canadian experimental animator and film director known for his work in the National Film Board (Office National du Film) where he played a commanding role from 1941 to 1982. Besides filming without a camera or microphone and using his scratch sound system, McLaren’s aesthetic belief in animation is legendary: “What happens between each frame is more important than what happens on each frame”[1] and “How it moved is more important than what moved”[2]. The animated art, which he defined as “the art of manipulating the invisible interstices that lie between the frames”[3], was not a spatial subject but a temporal one for McLaren. Such notions are reflected in his own compositions for his animated films Neighbours (1952), Rythmetic (1955), and Synchromy (1970). In particular, the titles of the last two works suggest his intention to explore beyond the traditional notion of film art by combing words like rhythm and arithmetic (to form “rythmetic”) or synchronicity and chrome (to form “synchromy”). However, the artistic dimension of Rythmetic, on which he collaborated with Evelyn Lambart (1914–1999), has not been fully evaluated unlike that of Synchromy, which is always refered as his representative work. For instance, in a special issue of Séquence for McLaren in 1975, Rythmetic was classified as a film not for "aesthetic pleasure" but for “information and education”[4] and Collins depicted this work as an arithmetic lecture or communicative stress management through image: Following on the heels of a teaching assignment in India for UNESCO, this amusing non- verbal lecture on the subject of mathematics reveals McLaren's feelings about the inadequacies of communication between peoples of different cultures and languages.
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Daniel Leal Werneck “ESTRATÉGIAS DIGITAIS PARA O CINEMA DE
Daniel Leal Werneck “ESTRATÉGIAS DIGITAIS PARA O CINEMA DE ANIMAÇÃO INDEPENDENTE” Universidade Federal de Minas Gerais Escola de Belas Artes Mestrado em Artes Visuais 2005 Daniel Leal Werneck “ESTRATÉGIAS DIGITAIS PARA O CINEMA DE ANIMAÇÃO INDEPENDENTE” Dissertação apresentada ao Curso de Mestrado em Artes Visuais da Escola de Belas Artes da Universidade Federal de Minas Gerais, como requisito parcial à obtenção do título de Mestre em Artes Visuais. Área de concentração: Produção e Crítica das Imagens em Movimento Orientador: Prof. Dr. Heitor Capuzzo Universidade Federal de Minas Gerais Escola de Belas Artes Mestrado em Artes Visuais 2005 Werneck, Daniel Leal, 1979- Estratégias digitais para o cinema de animação independente / Daniel Leal Werneck. - 2005. 240 f. : il. Orientador: Heitor Capuzzo Dissertação (mestrado) - Universidade Federal de Minas Gerais, Escola de Belas Artes 1. Animação (Cinematografia) - Manuais, guias, etc. - Teses 2. Animação por computador - Teses 3. Computação gráfica no cinema - Teses 4. Cinema experimental - Teses 5. Linguagem cinematográfica - Teses 6. Desenho animado - Teses I. Capuzzo, Heitor, 1954- II. Universidade Federal de Minas Gerais. Escola de Belas Artes III. Título CDD : 778.5347 “Estratégias Digitais para o Cinema de Animação Independente” - Daniel Leal Werneck RESUMO A presente dissertação é fruto de dois anos de pesquisa que exploraram as atuais possibilidades do cinema de animação dentro do âmbito da tecnologia digital e do uso de computadores pessoais na produção de filmes de animação. As informações aqui contidas se apresentam tanto em forma de manual prático quanto em forma de análises e questionamentos teóricos, buscando uma situação híbrida entre a capacitação informativa do público interessado e o trabalho teórico e prático de pesquisa acadêmica, de forma que o texto final possa ser divulgado livremente através da Internet em forma de um website onde qualquer usuário possa ter acesso gratuito a essas informações.
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The Film-Work of Norman Mclaren in the Context of His Objectives
The Film-Work Norman McLaren Terence Dobson A thesis submitted in accordance with the requirements for the Degree of Doctor of Philosophy in the University of Canterbury University of Canterbury 1994 Contents page Abstract iii List of Illustrations iv Preface v Introduction vii Part One Chapter One An Informative Drawing 1 Chapter Two The Early Years 23 Chapter Three McLaren at the G PO Film Unit 57 Part Two Chapter Four New York Interlude 103 Chapter Five Canada 128 Part Three Chapter Six Technical Processes 170 Chapter Seven Confluence and Conflict in Synchromy 197 Chapter Eight Venus and Mars 218 Conclusion 237 Chronology 248 Bibliography 249 Interviews, Films and Recordings 281 ill Abstract This thesis examines the film-work of Norman Mclaren in the context of his objectives. The thesis is divided into three parts, based on chronological divisions in McLaren's life. The first part deals with McLaren's formative years in Scotland and England and examines his early exposure to the social, artistic and institutional influences that were to shape his filmic output. The second part deals with Mclaren's maturation in the USA and Canada. His reaction to the contrasting working environment he found in each of the two countries is examined. In order to show McLaren's development more clearly, both parts one and two are based on a chronological sequencing. The third part of the thesis examines specific issues in relation to Mclaren and his work and as such is concerned principally with his mature output. McLaren's films contain incongruities, conflicts and apparent inconsistencies.
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PRESS RELEASE Mclaren Wall-To-Wall: NFB and Quartier Des Spectacles Partnership Issue Call for Projects to Mark Centenary of Ce
PRESS RELEASE McLaren Wall-to-Wall: NFB and Quartier des Spectacles Partnership issue call for projects to mark centenary of celebrated Canadian filmmaker Norman McLaren Montreal, December 5, 2013 – Norman McLaren, one of the most famous animation filmmakers in the world, would have been 100 years old in 2014. McLaren brought an energy and vision to animation filmmaking that live on to this day. To celebrate his centenary, the National Film Board of Canada (NFB) and the Quartier des Spectacles Partnership are inviting artists from around the world to respond to a call for projects entitled McLaren Wall-to-Wall. The selected artists will create four out of a total of eight video works that will be projected onto building façades in Montreal’s cultural district, the Quartier des Spectacles, from April 11 (McLaren’s birthday) to June 1, 2014, as a tribute to this animation filmmaker who holds an incomparable place in the history of world cinema. CALL FOR PROJECTS Creative artists from all disciplines—film, digital art, music, and architecture—are invited to engage in a fruitful dialogue with McLaren’s work by proposing ideas for linear films three to eight minutes in length, each of which must be inspired by one of the four McLaren films below and designed to be projected onto one of the four building façades listed below. Each proposed film must also be aimed at a general audience, work aesthetically with the selected building façade, and include a synchronized sound track. All projects that meet the criteria for this competition will be evaluated by a jury, and the winners will receive cash prizes: a First Prize of $25,000 and three additional prizes of $5,000 each.
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Complete Program Unveiled for Mclaren Wall-To-Wall Celebration
Press release / For immediate release COMPLETE PROGRAM UNVEILED FOR MCLAREN WALL-TO-WALL CELEBRATION NFB and Quartier des Spectacles announce international film competition winners and commissioned inte- ractive video installations to be shown at McLaren Wall-to-Wall Montreal, April 8, 2014 – The Quartier des Spectacles Partnership and the National Film Board of Canada (NFB) today announced the complete program for McLaren Wall-to-Wall, a joint initiative by the two organizations to commemorate the 100th anniversary of the birth of the great Canadian filmmaker Norman McLaren. From April 11 to June 1, eight video works paying tribute to McLaren’s artistic heritage will be projected onto the façades of eight buildings in the heart of Montreal. The works will consist of the four winning films from the international competition held especially for this event, three commissioned interactive video installations by renowned Montreal artists, and a retrospective featuring excerpts from nine of Norman McLaren’s landmark films. 1 2 3 4 Photos: Martine Doyon FOUR WINNING FILMS FROM THE MCLAREN WALL-TO-WALL INTERNATIONAL COMPETITION In December 2013, the NFB and the Quartier des Spectacles Partnership invited creative artists around the world to submit original video works inspired by any one of three McLaren films—Begone Dull Care, Synchromy and Spheres—to compete for showing in the McLaren Wall-to-Wall celebration. The jury for this international competition received 93 submissions—49 from the Americas, 41 from Europe and three from Asia—from which
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