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Claude Jutra Filmographie Et Témoignages D EZE RO COPIEIIRC 3| E Z I RC D I= 7 E R O
SEPTEMBRE 1987 • NO 33 Claude Jutra filmographie et témoignages D EZE RO C O PIEIIRC 3| E z i RC d i = 7 E R O Direction:/ / Pierre Jutras, Pierre Véronneau. Remerciements pour leur collaboration spé ciale: Louise Beaudet, Jacques Blanchette, Toute reproduction (textes ou photos) est interdite sans autorisation de l’éditeur. Gisèle Côté, Marc-Antoine Daudelin, Carmelle Les auteurs conservent l’entière responsabilité de leurs textes et ne représentent pas nécessairement les opinions de la revue. Gaudet, Luc Gauvreau, Suzanne Guèvremont, COPIE ZÉRO est publié par la Cinémathèque québécoise avec l’aide du Ministère des Affaires culturelles du Québec Gilles Janson, Lucie Joyal, Mimi Jutras, Jacques et du Conseil des Arts du Canada. * * * * * * COPIE ZÉRO est membre de l’Association des éditeurs de périodiques culturels québécois et est distribué par Diffu Larocque, Nicole Laurin, Bernard Lutz, D. John sion Parallèle. Tumer. Composition et impression: Les Presses Solidaires. Dépôt légal: Bibliothèque nationale du Québec. Troisième trimestre 1987. ISSN 0709-0471. Et un merci particulier à tous les auteurs des Courrier de deuxième classe. Enregistrement no: 1688 textes qui figurent dans ce numéro. COPIE ZÉRO est indexé dans l’International Index to Film Periodicals publié par la Fédération internationale des Archives du Film et dans le Film Literature Index. Choix des photos: Alain Gauthier. Adresse: COPIE ZÉRO Conception graphique: Andrée Brochu. Cnémfhèque québéco^^^^^^HjjH 335, boulevard de Maisonneuve est Montréal, Québec H2X 1 Kl - Tél. (514) 842-9763 m m m m m m m m m j „ i.V - ’jF ' - - . ,,-^ÊÊÊJÊÊSSÈÊËÊki^.. En couverture: Claude Jutra. Photo Guy Schiele, 1979 En couverture dos: Photogramme de PIERROT DES BOIS Intérieur de la couverture dos: Photo Paul Gélinas. -
“Performance As Narrative in Two Mclaren Animated Shorts” Lucille Mok, Harvard University
“Performance as Narrative in Two McLaren Animated Shorts” Lucille Mok, Harvard University Presented at the Canadian University Music Society Annual Conference University of Victoria, Victoria, BC June 5 to 9, 2013 Experimental filmmaker Norman McLaren created his abstract animated films at a pivotal moment in the history of animation and in the development of film and sound technology. During his career of over forty years (from 1941 until his death in 1987) at the National Film Board of Canada [NFB], McLaren was a key player in this evolution, incorporating sound and video in new and innovative ways. In both his aesthetic and approach to sound, McLaren followed in the footsteps of German filmmaker Oskar Fischinger, whose animation awakened McLaren’s fascination with film and its ability to “express his feelings about music.”1 Best known for his drawn-on sound techniques, McLaren developed techniques to compose electronic music by drawing or printing graphic patterns directly onto the optical soundtrack.2 [See Figure 1] His 1971 animated short “Synchromy,” referred to by the film scholar Thomas Y. Levin as “the magnum opus of the synthetic sound film,” is an examplar of McLaren’s audio technique.3 [See Figure 2.] By incorporating the images from his audio track directly into the film’s animation, McLaren augmented the visuals, revealing that the deep connections between sound and film were essential to his compositional process. 1 McLaren’s biographer, Terence Dobson, cites his encounter with Fishinger’s short animated film Study No. 7 as a moment of creative awakening. Terence Dobson, The Film Work of Norman McLaren (Eastleigh: John Libby Publishing, 2006), 32. -
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. -
Die Erfinderin Der Formen. Das Kino Von Chantal Akerman Hier/Da: Chantel Akermans Là-Bas Filmvorführung: Jeanne Dielman, 23 Quai Du Commerce, Antwerpen (2004–2011)
Donnerstag, 23. Mai 2019 Tel Aviv. Sie ist außerdem Kuratorin und Programmgestalterin für sität Frankfurt/M. und Mitglied des Exzellenclusters „Die Heraus- Mit Godard wird das Kino historisch, mit Chantal Akerman fängt es Alisa Lebow Docaviv, das Tel Aviv Documentary Film Festival. bildung normativer Ordnungen“. Jüngere Veröffentlichungen:Die neu an: Das Werk der belgischen Regisseurin, Installationskünstlerin und Distanz rahmen: News from Home Filmvorführung: Là-bas, B/F 2006, 78 min. Künste des Kinos, Frankfurt/M. 2013; Aktive Passivität. Über den Schriftstellerin Chantal Akerman ist eine ausführliche und vielgestaltige Vortrag in englischer Sprache Spielraum des Denkens, Handelns und anderer Künste, Frankfurt/M. Antwort auf die Frage, was im Kino jenseits der fast durchwegs männ- Chantal Akermans News from Home wird mitunter als Liebeserklä- 2014; Hollywood ignorieren. Vom Kino, Frankfurt/M. 2017; Nicht- lichen Helden-Geschichte von Griffith bis Hitchcock noch möglich ist, rung an ihre Mutter beschrieben, kann aber auch als Darstellung einer Donnerstag, 13. Juni 2019 rechthabenwollen. Gedankenspiele, Frankfurt/M. 2018. als deren Erben die Nouvelle Vague sich verstand. Akermans Filme wie Distanzerfahrung verstanden werden. Während die damals 27 Jahre Eva Kuhn Filmvorführung: De l’autre côté, F/B 2002, 103 min. Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles, Je Tu Il alte Akerman die täglichen Briefe ihrer Mutter laut vorliest, sehen wir Vor und nach Jeanne Dielman Elle, D’est oder La captive sind im Kino ohne Vorbild und prägen mit Szenen aus einer gänzlich anderen Welt. Der Zwiespalt könnte kaum Donnerstag, 11. Juli 2019 ihren bahnbrechenden feministischen Sichtweisen seit ihrem Erscheinen offensichtlicher sein. Der Film ist zugleich ein Dokument einer sehr “It felt as though there was a before and after Jeanne Dielman Dieter Roelstraete die Ausdrucksmöglichkeiten des Films. -
A ESCUTA E a IMAGINAÇÃO EM BEGONE DULL CARE Rodrigo Fonseca E Rodrigues1 Resumo
“ADEUS AOS DRAMAS”: A ESCUTA E A IMAGINAÇÃO EM BEGONE DULL CARE Rodrigo Fonseca e Rodrigues1 Resumo: O pensamento contemporâneo sobre a escuta nas artes audiovisuais ainda se instiga diante da singularidade expressiva dos short music films, trabalhos experimentais modernistas que se empenham em amalgamar ritmicamente a escuta e o olhar, desprendidos dos recursos da narrativa ou da diegese ficcional. Um exemplo emblemático do gênero é Begone Dull Care (1949), de Norman McLaren, Evelyn Lambart e Oscar Peterson Jazz Trio. Apoiado nas ideias de Henri Bergson, este texto problematiza o motor criativo dessa obra que não narra nem descreve, tampouco busca meramente gerar uma experiência sinestésica, mas experimenta uma composição de sonoridades e plasticidade que apenas explora ritmos inventados de sensação pela imaginação não figurativa – a fantasia - da escuta. Palavras-chave: short music films; escuta; sensação; imaginação; Begone Dull Care. Contato: [email protected] Introdução Pensar a escuta e a imaginação na arte audiovisual apresenta, logo à partida, um problema conceitual que precisa se reconhecer como um dispositivo de abstrações diante de ritmos que se operam nos entretempos da experiência. Por seus próprios limites linguísticos, o pensamento não consegue alcançar pela representação as sensações que nos afetam muito antes dos tempos comunicáveis da percepção audiovisual. Fala-se aqui da sensação singular que a arte tem o poder de criar. Para tentar, no entanto, problematizar o processo pelo qual as aptidões criativas do olhar e a imaginação lidam com a atividade da escuta, será brevemente revisto o conceito de sensação tal como foi pensado por Henri Bergson (1859-1941). O artigo elege como corpus empírico Begone Dull Care, um short music film realizado em 1949 por Norman McLaren, Evelyn Lambart e Oscar Peterson, no intuito de pensá-lo antes como uma experimentação criativa da 1 Doutor em Comunicação e Semiótica (PUC-SP), Mestre em Comunicação Social (UFMG), Graduado em História (UFMG). -
Edinburgh Research Explorer
Edinburgh Research Explorer Dancing to the rhythm of the music Citation for published version: Dobson, N 2015, 'Dancing to the rhythm of the music: Norman McLaren and the performing body', Animation Studies, vol. 10, pp. 1-10. <https://journal.animationstudies.org/nichola-dobson-dancing-to- rhythm-of-the-music-norman-mclaren-the-body-and-performance/> Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record Published In: Animation Studies General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 24. Sep. 2021 Animation Studies – Vol.10, 2015 Nichola Dobson Dancing to the Rhythm of the Music – Norman McLaren, the Body and Performance On Begone Dull Care: “Thus, the knife-point was made to slide and move on the surface of the film; my hand pressed, guided, and, as it were, made to ‘dance’ to the rhythm of the music.” (McLaren 1949, p.6) Scottish-Canadian filmmaker Norman McLaren’s work is bound by the notion of performance; he described his own animation process in those terms, while using performance as both subject and animated object. -
Principaux Collaborateurs
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 -
11 APRILAPRIL -- 33 AUGUSTAUGUST 20142014 Celebrating the Centenary of Animator Norman Mclaren Screenings, Exhibitions, Workshops, Performances Around the UK
` 1111 APRILAPRIL -- 33 AUGUSTAUGUST 20142014 Celebrating the Centenary of Animator Norman McLaren Screenings, Exhibitions, Workshops, Performances around the UK Stirling • Glasgow • Edinburgh and events around the UK McLaren 2014 is an official Culture 2014 event and www.mclaren2014.com part of Homecoming Scotland 2014 celebrations. The McLaren 2014 Programme is produced by the Centre for the Moving Image in partnership with the @mclaren2014 /mclaren2014 National Film Board of Canada. www.mclaren2014.com WELCOME hen it occurred to me, back in 2007, Wthat Norman McLaren’s centenary was approaching, I wanted to ensure Scotland recognised this internationally renowned artist – one that most people in his country of origin hadn’t heard of. McLaren 2014 will narrate the progress of Norman’s life in Scotland, starting in April where we relive his childhood days in Stirling. We will then go to The Glasgow School of Art in May to screen his student films. In June, we will witness his legacy afresh in Edinburgh, with an exhibition of his artwork and a premiere event at the 68th Edinburgh International Film Festival. During the whole McLaren 2014 programme, you will be able to attend exhibitions, screenings, workshops and performances in Scotland and in the rest of the UK. This amassed wealth of cultural activity has all been inspired by one modest Scotsman, and over the past five years of developing this festival, I have frequently had to consider: ‘What would Norman do?’ Given Norman’s unassuming opinion of himself, he probably wouldn’t have orchestrated four months of events dedicated to his legacy, and most certainly would have shied away of the accumulated enthusiasm I’ve encountered bringing this programme together, with the invaluable contribution of McLaren’s friend, fellow film maker Don McWilliams. -
Jeux D'images
1 jeux d’images (petite forme) programme de 5 courts métrages de Norman McLaren Volatile McLaren Le point de vue de Emmanuel Siety Sérieux et pas sérieux - portrait de l’artiste en poule Une poule, voilà qui ne fait pas très sérieux. Une poule c’est amu- sant, un peu ridicule dans une cour de ferme… Caquètements et petits Auteur d’un documentaire sur Norman McLaren, Donald McWil- coups de bec pour picorer, elle est presque une icône de la sottise liams rapporte cette anecdote plaisante et éclairante : quand tant d’autres oiseaux incarnent la grâce, la fragilité, la légè- reté… Volatile balourd dont les ailes ne lui permettent pas de voler, « J’ai fait la connaissance de McLaren en 1968 et j’ai vite compris mais tout au plus de soulever un nuage de poussière dans une course que la présence fréquente d’oiseaux, de poules et de pattes de poules affolée quand un chien s’avise de la poursuivre. Est-il bien raison- dans ses films ne tenait pas du hasard : le cinéaste s’identifiait aux nable de penser à Fred Astaire en dessinant une poule ? Dans La Ruée volatiles, en particulier aux poules. Perplexe, j’en ai glissé un mot vers l’or, Chaplin déguisé en poule fait rire et aussi un peu peur. Peut- à son amie Evelyn Lambart. Elle m’a regardé avec étonnement. on prendre au sérieux un artiste qui se prend pour une poule ? Un « Chacun de nous est un animal. Moi, je suis un cheval. Et vous, albatros, passe encore, mais une poule ? qu’est-ce que vous êtes? » Je suis resté sans voix durant peut-être une minute. -
Introductory Animation Principles Principles of Animated Motion Inspiration
Introductory Animation Principles Principles of Animated Motion Inspiration • Norman McLaren • Born in1914 in Stirling, Scotland. Died in Montreal, 1987. • NFB > Focus on Animation > Norman McLaren • McLaren 2014 Norman McLaren • The National Film Board of Canada was founded in 1939. • The British documentary film-maker John Grierson was appointed to be the first Head of the NFB. • In 1941, Grierson asked his friend and colleague McLaren to join the NFB, to be in charge of producing short animated films for the war effort. McLaren had been working in England and New York, using direct animation (drawing directly on 35-mm film). • At the Board, McLaren recruited young artists from across Canada to assist him, like George Dunning, Grant Munro and Rene Jodin. This group of individuals eventually became the animation department at the NFB. • The early films were done very inexpensively with a minimum of means because of scarce resources due to the war, but the films were completed with charm and vitality. • After WW II, the animators at the Board were able to focus their attention on more personal projects. Norman McLaren • After WW II, the animators at the Board were able to focus their attention on more personal projects. • McLaren became recognized internationally for his innovative technical achievements: • Drawing on film - he made “Begone Dull Care” (1949) made with Eve Lambert, with music by the Oscar Peterson Trio • Pixilation - he directed/animated actors frame by frame in front of the camera • Animated sound - when he drew and photographed optical sound, for films like “Neighbours” (1952) and “A Chairy Tale” (1957) for example • “Neighbours” won an Oscar in 1952. -
The Emergence of Abstract Film in America Was Organized by Synchronization with a Musical Accompaniment
EmergenceFilmFilmFilmArchiveinArchivesAmerica, The Abstract Harvard Anthology Table of Contents "Legacy Alive: An Introduction" by Bruce Posner . ... ... ... ... ..... ... ... ... ... ............ ....... ... ... ... ... .... .2 "Articulated Light: An Appendix" by Gerald O'Grady .. ... ... ...... ... ... ... ... ... ... ... ...... ... ... ... ... ... .... .3 "Cinema as a An Form: Avant-Garde " Experimentation " Abstraction" by Vlada Petric .. ... 3 "A New RealismThe Object" by Fernand Leger ... ........ ... ... ... ...... ........ ... ... ... ... .... ... .......... .4 "True Creation" by Oskar Fischinger .. ..... ... ... ... ... .. ...... ... ....... ... ........... ... ... ... ... ... ....... ... ........4 "Observable Forces" by Harry Smith . ... ... ... ... ... ... ...... ... ... ... ... ......... ... ... ... .......... ...... ... ... ... ......5 "Images of Nowhere" by Raul Ruiz ......... ... ... ........ ... ... ... ... ... ...... ... ... ... ... ... ...... ... ... .... ... ... ... 5 `TIME. .. on dit: Having Declared a Belief in God" by Stan Brakhage ..... ...... ............. ... ... ... .. 6 "Hilla Rebay and the Guggenheim Nexus" by Cecile Starr ..... ... ...... ............ ... ... ... ... ... ... ... ...7 Mary Ellen Bute by Cecile Starr .. ... ... ... ... ...... ... ... ... ... ... ............ ... ...... ... ... ... ... ... ...... ... .............8 James Whitney studying water currents for Wu Ming (1973) Statement I by Mary Ellen Bute ... ... ... ... ... ... ... ... ... ... ... ...... ...... ... ... ...... ... ... ... ... .. -
Founded in 1939 Under the Aegis of Scotsman John Grierson, Pioneering Theorist and Practitioner of the Documentary Form, The
Founded in 1939 under the aegis of Scotsman John Grierson , pioneering theorist and practitioner of the documentary form, the National Film Board was initially put in the service of war propaganda. Two years later, the addition to its ranks of Grierson’s countryman Norman McLaren would instigate the NFB’s second elemental thrust: technically adventurous, audaciously whimsical animation. These two interwoven threads have permeated the Film Board’s productions ever since, giving us formally innovative works that nonetheless edify. NFB films are fun, entertaining, and favor the dramatic over the didactic. We present, drawn from the shelves of Oddball Archives, what can only pretend at a cross-section of NFB’s voluminous output: explorations from the subatomic to the outer reaches of space, with a dose of human-scale drama and sheer flights of fancy. Pas de deux (1968) B+W 13 min. by Norman McLaren Set against a black ground, two graceful dancers become pure embodiments of light. Using optical superimposition, McLaren multiplies the figures, transforming live action into his own brand of kinetics. Beautifully choreographed and shot, hauntingly scored (featuring the United Folk Orchestra of Romania ), hypnotic and unforgettable. Cosmic Zoom (1968) Color 8 min. by Eva Szasz A fantastic, “continuous” voyage from a rowboat on the Ottawa river, upward and outward to a grand view of galactic flotsam, then back inwards through a rivulet of blood in the tip of a mosquito’s proboscis, to examine an atomic nucleus. Remade a decade later by Charles and Ray Eames (Powers of Ten ) with narration (and its jumping-off point moved to Chicago), then again as an Imax movie ( Cosmic Voyage ) with Morgan Freeman , Cosmic Zoom is where it all began.