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Spanish Animation in 2012 English Information 173 · Molecular Zombi and Pablo Llorens’ · Spanish Animation in 2012 · Martian Parenthood · Keywords Key words Animation, crisis, change, funding, short films, Pablo Llorens, clay, Valencia, Molecular Zombi, feature films. stop-motion. Biography Biography Samuel Viñolo Locuviche (Almeria, 1978) has a Rosa Torres Pujol studied Audiovisual Communi- degree in Communication Studies from the Univer- cation at the University of Valencia (UV). She is in- sidad de Sevilla, and has worked as an animator in terested in the possibilities of animation to approach Germany and Spain. After finishing his Master The- social taboos, subject she has explored in the Artistic sis in Castellon de la Plana (Spain), he is currently Production Master she finished at Universitat Poli- preparing a PhD about CGI Catalonian Animation tècnica de València. She has been a speaker at the at the Universitat of Barcelona (Spain). He also has Seminar on ICT in the UV (2008) and cooperating- been responsible for the animation blog Animaholic teacher offering a class about “The annihilating ani- Magazine since 2005. mation of the stereotypes”, from the Master’s Degree in Languages and Literatures (2010). Her short film Imperfecta was shown at the 26th edition of Cinema · Coffee with Guillermo García Carsí (El Jove, and nowadays she is about to make an animated Señor Studio) · video installation. Key words El Señor Studio, animation, characters’ creation, · O Apostolo, by Fernando Cortizo · 2D, 3D, series, coproduction. Biography Key words Sara Álvarez Sarrat is Senior Lecturer at the Stop-motion, puppets, Spanish film, Paul Naschy, Department of Design, Universitat Politècnica de Galicia. València, and PhD in Fine Arts from 2002. She ini- Biography tiated her thesis during an internship in the AWN Adrián Encinas Salamanca (Madrid, 1986) is a magazine, Los Angeles (USA). She has directed the Civil Canals and Ports Engineer. His premature Master Degree in Animation UPV (2010-12), and contact with the cinema of Ray Harryhausen made from 2008 there leads the group of I+D+I Anima- outcrops on a concern about the how and why of ani- tion: Art and Industry. She has taken part as referee mation frame by frame, which materialized in 2006 in international conferences, collaborated with festi- in the creation of the Puppets & Clay blog, dedica- vals and published in books and specialized maga- ted exclusively to the world of stop-motion. He has zines. In 2012 curated the exhibition Surviving Life: also worked for animation festivals such as Anima- Collages of Jan Svankmajer’s movie, at the exhibition yo, Animadrid, and 3D Wire, delivering chats about hall Josep Renau (BBAA-UPV). Her artistic pro- stop-motion, and he has contributed to books (The duction passes between animation, painting and Spanish Short in 100 names), magazines (FX Maga- drawing. zine, Stop-Motion Magazine) and fanzines (DATA, Biography Amazing Monsters) focusing on this centennial ani- Miguel Vidal Ortega is Graduated at the Univer- mation technique from different points of view. As sity of Havana, and PhD in Fine Arts, Universitat well, he is founder of STOPMOTIA, an association Politècnica de València. He teaches animation at the of lovers of stop-motion. Department of Design, San Carlos Faculty of Fine 174 English Information Arts in Valencia, and he is also member of the group mation Studies, and Animation. An interdisciplinary of I+D+I Animation: Art and Industry, combining journal. As a filmmaker, she has directed the short teaching with research. He has been lead animator films Portrait of D., The Carnivorous Flower, and she and director of films at ICAIC Animation Studios in has coordinated the making of the collective film The La Havana, Cuba, and he has worked for numerous Cat Dances With Its Shadow. films as an animator, designer and director of short films, headers and music videos. He has participated · Interview with Nicolás Matjí, Producer in festivals, conferences and exhibitions. of Tad, the Lost Explorer · · Wrinkles. A Travel Abroad, from the Be- Key Words ginning to the End · Spanish Animation, Nicolás Matjí, Tadeo Jones, 3D, production, Enrique Gato. Key words Biography Alzheimer, screenwriting, comic, 2D, feelings, life, María Lorenzo Hernandez teaches animation at death. the Department of Design, Universitat Politècnica Biography de València. PhD in Fine Arts since 2006, she is a With Cuenca in the heart, Pilar Yébenes is Senior member of the Research Group in Animation: Art Lecturer of Animation at Unversidad Europea de and Industry. Since 2011 she is Editor of Con A de Madrid, where she operates in the field of teaching animación. He has presented papers at the Society and research venues. A member of the Spanish As- for Animation Studies annual conferences held in sociation of Historians of Cinema, she has written Portland, Bournemouth, Atlanta, Edinburgh and several publications on Spanish animation films, the Athens (2007-2011), and at the National PCA/ latter being Arrugas. Del cómic a la gran pantalla, on ACA Conference in San Francisco (2008). He has the animated feature Wrinkles, winner of two Goya contributed with papers to the journals Animac Ma- Awards; she has also published monographs on Ja- gazine, Animation Studies, and Animation. An inter- panese and American animation. He has contribu- disciplinary journal. As a filmmaker, she has directed ted with texts for national and international festivals the short films Portrait of D., The Carnivorous Flower, such as Málaga Cinema Festival, Animadrid, Ani- and she has coordinated the making of the collective macor, or Cinanima in Portugal, and she has been film The Cat Dances With Its Shadow. juror at these events. · Animation at the IVAC Film Archive. · A Spanish “Rigger” at Disney: Iker J. De Some Significant Milestones in its Pro- los Mozos · gramming · Key words Key words Animation, “rigging”, professionalism, teamwork, IVAC – Film Archive, animation, authors, cycles, Disney. festivals, Valencia. Biography Biography María Lorenzo Hernandez teaches animation at José Antonio Hurtado got a Diploma in Film the Department of Design, Universitat Politècnica History and Aesthetics at the Film Department of de València. PhD in Fine Arts since 2006, she is a Universidad de Valladolid. Between 1985 and 1989 member of the Research Group in Animation: Art he is responsible for the Classroom of Cinema at and Industry. Since 2011 she is Editor of Con A de Universitat de València. In 1989 enters at Genera- animación. He has presented papers at the Society for litat Valenciana Film Archive as editor of the jour- Animation Studies annual conferences held in Port- nal Archivos de la Filmoteca. That same year he was land, Bournemouth, Atlanta, Edinburgh and Athens appointed Head of Programming, a position he cu- (2007-2011), and at the National PCA/ACA Con- rrently holds in the IVAC Film Archive. He teaches ference in San Francisco (2008). He has contributed film genres at the Department of Film at Universi- with papers to the journals Animac Magazine, Ani- dad de Valladolid. Member of the editorial board of English Information 175 Caimán. Cuadernos de cine, he has contributed to film · “Drawing, Drawing, Drawing” · magazines as Nosferatu and several collective books. He has also coordinated several monographs on Key words film-makers and genres. He is the author of the Drawing, creation, discipline, career, animation. books Cine negro, cine de género, and París, Texas. Biography Carlos Plasencia Climent (1951). Lecturer in Fine · The Fest we Want. Córdoba Interna- Arts since 1977. PhD in 1986, and Professor since 1999 at Department of Design, Universitat Politèc- tional Animation Festival - ANIMA · nica de València. He has taught drawing and artis- Key words tic treatment of the human figure, as well as artistic Festival, Córdoba Argentina, arts, audiovisual, research methodology. Painter and draftsman at the animation. beginning of his professional career, he has headed Biography researching groups at the University, developing pro- Alejandro R. González attended both undergrad- jects on graphic design and drawing pedagogy. He uate and graduate studies on film and video at the has also coordinated and collaborated with doctoral National University of Córdoba, and defines himself programs at UPV and Mexico, Santiago de Chile as an animation activist. Alejandro teaches anima- and Portugal. Lecturer at numerous master degrees tion courses at university level (National Universi- in visual arts, he has curated exhibitions and publis- ty of Córdoba, National University of Villa María), hed books, texts and frequent articles at catalogs. As and he is currently researching on the history and Head of the Department of Design at UPV (1993- aesthetics of Argentinian animation. He is direc- 2004), he managed the creation of the Animation tor of Córdoba International Animation Festival - area as a training field in Fine Arts. ANIMA, the most relevant animation festival in Ar- gentina. When Alejandro is not animating or doing · Jan Švankmajer´s Magic Lantern: something related to animation, he spends his time Švankmajer and the Czech Animation being a proud father, an exemplary husband, and the owner of a golden labrador dog. Cinema · Key words · Teaching Animation and the Universe · Czech Animation, Švankmajer, Trnka, Stop- motion. Key words Biography Animation, creativity, restrictions, project, teaching. Jesus Palacios (Madrid, 1964). Writer and film cri- Biography tic, he is a regular contributor to publications such as Gil Alkabetz was born in Kibuz, Israel, 1957. He Fotogramas, El Cultural, Cine 2000, Más Allá, etc., as studied at the Academy of Art and Design Bezelel, well as radio and television. Specialized in fantasy, Jerusalem. He continued his career as an animator he has published more than twenty books, he is also and director in the studio Frame by Frame of Israel, editorial advisor at Valdemar, collaborator at film fes- and later in Sweet Home Studio in Stuttgart, Ger- tivals (Las Palmas, Gijón, etc.), and has taught and many. Is a visiting professor at various institutions of lectured at Universidad Carlos III, the CAAM, La Israel, the U.S.
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