DOCSLIB.ORG

Journal of Film Preservation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Journal of Film Preservation Journal of Film Preservation Journal of Film Preservation Contributors to this issue... Ont collaboré à ce numéro... Journal Han participado en este número... 73 04/2007 MAGDALENA ACOSTA of Film Miembro del Comité ejecutivo de FIAF (México) ANTTI ALANEN Head of the FIAF Programming and Access to Preservation Collections Commission, Programmer at the Finnish Film Archive (Helsinki) HOU HSIAO-HSIEN MICHELLE AUBERT Film Director (Taipei) Conservatrice, Directrice adjointe, Archives françaises du film - CNC (Bois d’Arcy) CLYDE JEAVONS Programmer at the National Film Theatre of the ROBERT DAUDELIN BFI (London) Rédacteur en chef du Journal of Film Preservation (Montréal) ÉRIC LE ROY Chef du Service accès, valorisation et MARCO DE BLOIS enrichissement des collections la de Revista Internacional Federación Fílmicos Archivos de Conservateur cinéma d’animation à la Archives françaises du film - CNC (Bois d’Arcy) Cinémathèque québécoise (Montréal) RICHARD LOCHEAD CHRISTIAN DIMITRIU Manager, Film and Broadcast, Library and Editorial Board Member of the Journal of Film Archives Canada (Ottawa) Preservation (Brussels) FEREIDOUN MAHBOUBI GIAN LUCA FARINELLI Chargé d’études documentaires aux Archives Directeur de la Cineteca del Commune di françaises du film – CNC (Bois d’Arcy) the by Published Federation International Archives Film of Bologna (Bologna) DAVIDE POZZI JON GARTENBERG Head of Film Restoration and Conservation at President of Gartenberg Media Enterprises, Inc. L’Immagine Ritrovata (Bologna) (New York) YOLANDE RACINE Hou Hsiao-Hsien THORARINN GUDNASON Directrice générale de la Cinémathèque Director of Kvikmyndasafn Islands (Reykjavik) québécoise (Montréal) FIAF Global Figures Revue de la Fédération Fédération la de Revue Internationale Film du Archives des PIERRE VÉRONNEAU Legal Deposit Conservateur cinéma québécois et canadien, The Fragile Emulsion coordinateur du dépôt légal à la Cinémathèque 73 • FIAF 04/2007 québécoise (Montréal) 71 • FIAF 7/2006 Cinéma coréen en DVD Free Cinema on DVD April / avril Abril 2007 73 Editorial 2 Le charme discret des statistiques Robert Daudelin FIAF Award 4 Filmmaking and Film Preservation Hou Hsiao-Hsien Open Forum We Are the Lambeth Boys, 6 The Leviathan and the Identikits Karel Reisz, GB, 1959. Global Figures for Everyday Use (Courtesy of the Cinémathèque Christian Dimitriu Royale de Belgique) Historical Column / Chronique historique / Columna histórica 19 The Moving Image: Subject or Object? FIAF Awards Clyde Jeavons Martin Scorsese (2001) Manoel de Oliveira (2002) Education / Formation / Capacitación Ingmar Bergman (2003) 33 Film Restoration Summer School / FIAF Summer School 2007 Geraldine Chaplin (2004) Gian Luca Farinelli, Davide Pozzi Mike Leigh (2005) Hou Hsiao-Hsien (2006) Experimental Cinema (2) / Cinéma expérimental (2) / Cine experimental (2) 39 The Fragile Emulsion Illustrations by courtesy of: Jon Gartenberg Archives françaises du film, Bois d’Arcy Ascención Serrano, Legal Deposit / Dépôt legal / Depósito legal Estate of Warren Sonbert 52 Mandatory Film Deposit in Canada Cinémathèque Suisse, Lausanne Richard Lochead Cinémathèque Royale de Belgique, Bruxelles Cineteca Nacional, México 55 Legal Film Deposit in Mexico FIAF Photographic Archives, Brussels Magdalena Acosta Jack Waters Collection Kvikmyndasafn Islands, Reykjavik Library and Archives of Canada, Ottawa 59 Le dépôt légal au Québec Yolande Racine Fédération Internationale 65 The French Legal Deposit System for Film des Archives du Film - FIAF Rue Defacqz 1 Michelle Aubert, Eric Le Roy 1000 Bruxelles / Brussels Belgique / Belgium T: (32 2) 538 30 65 F: (32 2) 534 47 74 [email protected] Journal of Film Preservation In Memoriam Journal of Film Preservation 68 Farrokh Gaffary (1922-2006) Half-yearly / Semi-annuel ISSN 1609-2694 Fereidoun Mahboubi Copyright FIAF 2006 News from the Archives / Nouvelles des archives / FIAF Officers President / Président Noticias de los archivos Eva Orbanz 71 The Most Important Move: The First Step Secretary General / Secrétaire général Thorarinn Gudnason Meg Labrum Treasurer / Trésorier Karl Griep Publications / Publications / Publicaciones 76 Écrits cinématographiques de Boleslaw Matuszewski Comité de rédaction Éric Le Roy Editorial Board Chief Editor / Rédacteur en chef Robert Daudelin 78 Cinémathèques à l’italienne Pierre Véronneau EB Members / Membres CR Mary Lea Bandy Eileen Bowser DVDs Paolo Cherchi Usai 81 Free Cinema Christian Dimitriu Robert Daudelin Eric Le Roy Hisashi Okajima 85 R.W. Paul: The Collected Films Corespondents/Correspondants Antti Alanen Elaine Burrows Thomas Christensen Hervé Dumont 87 The Brothers Quay: The Short Films 1979-2003 Ray Edmondson Marco de Blois Steven Higgins Clyde Jeavons Paul Read 90 Classiques coréens Roger Smither Éric Le Roy Résumés Eileen Bowser 93 Publications Received at the Secretariat / Publications reçues au Robert Daudelin Secrétariat / Publicaciones recibidas en el Secretariado Christian Dimitriu M. Beatrice Lenzi Sever J. Voicu 96 FIAF Bookshop / Librairie FIAF / Librería FIAF Éditeur / Executive Publisher Christian Dimitriu Editorial Assistants Catherine Surowiec Baptiste Charles M. Beatrice Lenzi Sever J. Voicu Graphisme / Design Meredith Spangenberg Imprimeur / Printer Artoos - Brussels Le charme discret des statistiques Robert Daudelin Les statistiques ne disent jamais qu’une partie des choses. Même que, Editorial par définition, elles en cachent une partie encore plus grande. D’où la nécessité d’interroger les statistiques, de compléter l’information qu’elles nous apportent, de questionner aussi ce qu’elles semblent dire trop clairement. Ainsi en est-il des chiffres que nous livre (et questionne lui-même au passage) Christian Dimitriu dans son «Global Figures for Daily Use» qui tient lieu d’Open Forum à ce nouveau numéro du Journal of Film Preservation. Cinq années de la vie et de l’activité de 145 affiliés de la FIAF sont résumées dans ce document qui devient ainsi une sorte d’instantané de la situation actuelle des archives du film dans le monde. Et le monde The Editor examines the meaning of des archives du film n’est pas différent du monde géopolitique actuel. the FIAF statistics on archival activity. Ainsi, c’est l’Afrique, immense continent, qui compte le moins d’archives The figures of the last 5 years that du film (7); et ce sont ces 7 archives qui travaillent avec le personnel le Christian Dimitriu reports in his “Global Figures for Daily Use” in the plus restreint (22 personnes, alors que la moyenne pour l’ensemble des Open Forum are a portrait of the répondants est de 43) et, bien entendu, le budget le plus réduit. Et que situation of film archives in the world, dire du Proche-Orient et du Moyen-Orient? Trois affiliés de la FIAF pour a situation similar to the geopolitical couvrir un territoire aussi vaste et aussi varié culturellement… Aussi world. Thus, the immense continent laconiques soient-elles, ces statistiques n’en soulèvent pas moins des of Africa has the smallest number questions pertinentes, indiquant presque, pour qui veut bien s’y arrêter of film archives and the fewest staff members, and, of course, the most un moment, un plan d’action, à tout le moins une liste de priorités. restricted budgets. And similarly for Les données relatives aux collections sont plus difficiles à interpréter. Si the Near East and the Middle East, les grands totaux sont impressionnants, on se doit d’être prudents dans a territory as vast and as culturally varied. As laconic as they may be, l’usage qu’on en fait : rien ne nous permet de présumer de l’état des these statistics raise questions and copies conservées; certains chiffres cachent assurément des doublons; ask for a plan of action, or at least a etc. Pour lier le contenu du rapport avec le dossier «Dépôt légal» 1 que list of priorities. nous inaugurons avec ce numéro, il serait évidemment intéressant de The facts about the collections are savoir quelle partie des acquisitions est une conséquence directe du more difficult to interpret. If the totals dépôt légal. L’auteur a raison de souligner que nos outils devraient être are impressive, we do not know the plus pointus à ce chapitre. actual state of conserved copies, nor how much is duplication. We would Les chiffres qui font plaisir à trouver sur notre chemin sont ceux relatifs like to know how many acquisitions aux utilisateurs de nos services: 115,000 chercheurs ont consulté nos are a direct consequence of legal catalogues en 2005 et 8,000,000 de spectateurs ont acheté un billet deposit. The author of the report is right to underline that our tools need pour assister aux projections publiques dans les salles des archives. Mais to be sharper. qu’ont-ils vu? Quelle proportion de ces programmes était consacrée au The numbers that give us satisfaction cinéma muet? Voire même à la production antérieure à 1960? Quelle are those relative to the users of our proportion venait des collections de l’institution? Peut-être le temps services. But who are they? How many programmes were dedicated to silent 1 L’enquête sur la situation du dépôt légal qui débute avec ce numéro fait suite à cinema, or even films before 1960? la suggestion de plusieurs membres nord-américains de la FIAF qui, à l’occasion de How many visitors come to see the la réunion de 2006 du Council of North-American Film Archives (CNAFA), avaient collections of the institution? Perhaps mis à l’ordre du jour la situation du dépôt légal dans leurs pays respectifs. Nous publions donc aujourd’hui trois de ces rapports (Canada, Mexique, Québec) auxquels the time has come to redo the inquiry se joint un texte sur la situation en France. Vu l’importance de cette question et ses that Catherine Gautier led on this retombées sur le travail des archives du film, nous allons poursuivre la publication topic. de textes faisant état de la situation du dépôt légal dans différents pays: toutes les contributions sont bienvenues. Journal of Film Preservation / 73 / 2007 We do not need to convince ourselves est-il venu de refaire l’enquête que Catherine Gautier avait menée sur ce of the importance and usefulness of terrain en 1992 et dont les résultats furent présentés en 19942.
Load more

Recommended publications
  • The Fragile Emulsion Author(S): JON GARTENBERG Source: the Moving Image: the Journal of the Association of Moving Image Archivists, Vol
    The Fragile Emulsion Author(s): JON GARTENBERG Source: The Moving Image: The Journal of the Association of Moving Image Archivists, Vol. 2, No. 2 (FALL 2002), pp. 142-153 Published by: University of Minnesota Press Stable URL: http://www.jstor.org/stable/41167089 . Accessed: 31/07/2014 15:46 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . 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 Minnesota Press is collaborating with JSTOR to digitize, preserve and extend access to The Moving Image: The Journal of the Association of Moving Image Archivists. http://www.jstor.org This content downloaded from 142.103.160.110 on Thu, 31 Jul 2014 15:46:15 PM All use subject to JSTOR Terms and Conditions ИН!142 dispositionfor those experimentalfilmmakers TheFragile Emulsion afflictedwith AIDS, theircinematic legacies JON GARTENBERG are the most endangered. Given the ever- shrinkingvenues supportingthe showingof One of the mostvital and richlytextured art these works,the decrease in exhibitionde- formsthreatened with extinction centers around mand has createda tendencytoward neglect. the historyof avant-garde filmmaking.1 Experi- Thetitle of this article, "The FragileEmul- mentalfilmmakers work in relativeisolation, sion," aptlyunderscores the status of Ameri- creatingtheir films with the hand of an artist, can experimentalfilms and theirmakers both ratherthan as productsfor consumption by a in the cinematographicculture as well as in mass audience.The style of the films frequently filmarchives.
    [Show full text]
  • BULLETIN for FILM and VIDEO INFORMATION Vol. 1,No.1
    EXHIBITION AND PROGRAMMING in New York : BULLETIN FOR FILM AND VIDEO INFORMATION Independent Film Showcases Film Archives, 80 Wooster st. N.Y.,N.Y.10012 Vol. 1,No .1,January 1974 Anthology (212)758-6327 Collective for the Living Cinema, 108 E 64St . N.Y.,NY.10021 Forum, 256 W 88 St . N.Y .,N .Y.10024 (212)362-0503 Editor : Hollis Melton ; Publisher : Anthology Film Archives ; Film Millennium, 46 Great Jones St. N.Y .,N.Y.10003, (212) 228-9998 Address: 80 Wooster st., New York, N .Y. 10012; Yearly subscription : $2 Museum of Modern Art, 11 W 53 St . N.Y.,N.Y.10019 (212) 956-7078 U-P Screen, 814 Broadway at E 11th St . N.Y. N.Y. 10003 Whitney Museum, 945 Madison Ave . at 75St . N.Y.,N.Y.10021 (212) 861-5322 needs of independent The purpose of this bulletin is to serve the information San :Francisco : their users. The bulletin is organized around five film and video-makers and Canyon Cinematheque,San Francisco Art Institute, 800 Chestnut St., film and video-making ; distribution ; exhibition aspects of film and video: San Francisco, Ca . (415) 332-1514 ; study; and preservation . There is very little in this iddue and programming Film Archive, University Art Museum, Berkeley, Ca. 94720 due to a lack of response from video-makers . Your suggetions and Pacific on video (415) 642-1412 comments will be welcomed . San Francisco Museum of Art, Van Ness & McAllister Streets, San Francisco Ca. (415) 863-8800 DISTRIBUTION that Include Screening Work by A brief note on non-exclusive distribution Regional Centers with Film Programs Independent Film-makers.
    [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]
  • BULLETIN for FILM and VIDEO INFORMATION Vol. 2,No.3
    HudochOneWorld, !nn 13AoadiaRU . .0!d8moowioh .CT8G87U 1975'70 ILM AND VIDEO INFORMATION feature film catalogue available . Wd, il, No . 3, May 1975 Independent Filmmakers' Cooperative . 2026 OOntario E., Montreal 133, Quebec, Canada (514) 523-2816 . 1972-73 catalogue is available listing over Editor : HolUo Melton ; Publisher: Anthology Film Archives ! 3K Alms, and a upplemerit to We min catalogue has been published. The subscription : ! Address: DOWouoterS1, New York, N1 10012 . Yearly 85 coopera0e now distributes close to 500 films by independent film-makers . Insight Exchange, P 0 @ux42584SonFmnciouo CA 94101 )021-2713. buUstniu0oserve theiWunnuUonneeds nf The ofthis "We currently seeking ewfilms undvideo inuurmajor categories : mental and their users . The bulletin is organized around five film-and video-makers health, women, community urUmnizing ."Sponsor film-discussion series, of 0m and video: film-and video-making ; distribution ; exhibition and aspects "Women Emorying"Write forfree brochures ondflyers. programming ; study; and preservation . Your suggestions and comments will welcomed . be Mu0Media Resource Center, 540Powo!St . .8anFrancisco, CA041U0 . Has catalogue supplement available of 1Smmfilms andvideocassettes on human sexuality. Now Line Cinema, 8 16th Floor, N.Y, N.Y . 10003 (212) 2DBrentwood Rd D Shore, NY 11706 Cum Wealth Alternate School . 674-7460 . Has new catalogue available . (516) 587-8398 . A new theater group, The Hamlet Collective, ''comprised of directors, dancers, painters, photographers, actors, musicians, playwrights, Polymorph Films . 331 NewburySt .jBoston, 02115(b17)202-5Q0U . artists who might wish to partici- video artists . We welcome film and video ''Films about families and living .'' Write or call for catalogue. pate in our growth .'' For information call or write Ned Bobkoff at the above Work! Class Films.
    [Show full text]
  • Les Differents Programmes De La Retrospective Warren Sonbert Warren Sonbert Retrospective Touring Programs
    LES DIFFERENTS PROGRAMMES DE LA RETROSPECTIVE WARREN SONBERT ORGANISÉE PAR LIGHT CONE (PARIS) & GARTENBERG MEDIA ENTERPRISES (NEW YORK) Copies : Light Cone, Paris Textes des programmes rédigés par Jon Gartenberg, Commissaire © Light Cone / Gartenberg Media WARREN SONBERT RETROSPECTIVE TOURING PROGRAMS ORGANIZED BY LIGHT CONE (PARIS) & GARTENBERG MEDIA ENTERPRISES (NEW YORK) Film prints courtesy of Light Cone, Paris Program Notes by Jon Gartenberg, Curator © Light Cone / Gartenberg Media 1. 1. IDENTITE QUEER QUEER IDENTITY AMPHETAMINE AMPHETAMINE Warren Sonbert and Wendy Appel. Warren Sonbert and Wendy Appel. 1966, n&b, sonore, 10 min. 1966, B/W, sound, 10 min. NOBLESSE OBLIGE NOBLESSE OBLIGE 1981, couleur, silencieux, 25 min. 1981, color, silent, 25 min. WHIPLASH WHIPLASH Achevé de manière posthume en 1997. Completed posthumously in 1997. Montage de Jeff Scher. Restoration editor: Jeff Scher. 1995, couleur, sonore, 20 min. 1995, color, sound, 20 min. Le programme se poursuit avec Noblesse The program continues with Noblesse Oblige, Oblige, une œuvre au montage magistral qui a masterfully edited work that features ima- offre des images des manifestations qui, à San gery Sonbert photographed of protests in San Francisco, avaient suivi les meurtres du Maire Francisco following the murders of Mayor George Moscone et du conseiller municipal George Moscone and Councilman Harvey Harvey Milk par Dan White. Sonbert a modelé Milk at the hands of Dan White. (Sonbert la structure de ce film sur La Ronde de l’aube modeled the structure of this film on Douglas de Douglas Sirk. Le programme s’achève avec Sirk’s Tarnished Angels). The program culmi- Whiplash, la méditation élégiaque de Sonbert nates with Whiplash, his elegiac meditation on sur sa propre mortalité, un film qui sera achevé his own mortality, a film that was completed après son décès mais selon ses instructions.
    [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]
  • Report to the U. S. Congress for the Year Ending December 31, 2003
    Report to the U.S.Congress for the Year Ending December 31,2003 Created by the U.S. Congress to Preserve America’s Film Heritage Created by the U.S. Congress to Preserve America’s Film Heritage April 30, 2004 Dr. James H. Billington The Librarian of Congress Washington, D.C. 20540-1000 Dear Dr. Billington: In accordance with Public Law 104-285 (Title II), The National Film Preservation Foundation Act of 1996, I submit to the U.S. Congress the 2003 Report of the National Film Preservation Foundation. It gives me great pleasure to review our accomplishments in carrying out this Congressional mandate. Since commencing service to the archival community in 1997, we have helped save 630 historically and culturally significant films from 98 institutions across 34 states and the District of Columbia. We have produced The Film Preservation Guide: The Basics for Archives, Libraries, and Museums, the first such publication designed specifically for regional preservationists, and have pioneered in pre- senting archival films on widely distributed DVDs and on American television. Unseen for decades, motion pictures preserved through our programs are now extensively used in study and exhibition. There is still much to do. This year Congress will consider the reauthorization of our federal grant programs. Increased funding will enable us to expand service to the nation’s archives, libraries, and museums and do more toward saving America’s film heritage for future generations. The film preser- vation community appreciates your efforts to make the case for increased federal investment. We are deeply grateful for your leadership. Space does not permit my acknowledging all those supporting our efforts in 2003, but I would like to single out several organizations that have played an especially significant role: the National Endowment for the Humanities, The Andrew W.
    [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]
  • 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]
  • C a N Y O N C I N E M a Z I N E I S S U E N O 3 2 0 1 4 2 0
    CANYONCI NEMAZINE ISSUENO3 20142015 on sound Cover: hand-painted slide by Taryn CONTRIBUTORS ONLINE CONTRIBUTORS Jones, 2013 Inside Cover: collage by Linda Bruce Baillie Jaime Cleeland Scobie, 2014 Michael Betancourt D. Jesse Damazo Brian Darr Robert Edmondson MASTHEAD John Davis Trevor Jahner Michael Daye Philip Mantione Canyon Cinemazine Clint Enns Petri Kuljuntausta An assemblage of experimental Gerry Fialka Michael Reisinger for Sleeping film and video writing, Walter Forsberg Giant Glossolalia art, and ephemera. Paul Glabicki Ken Paul Rosenthal P.O. Box 16163 Max Goldberg Phil Solomon Oakland, CA 94610 Barbara Hammer Ashley Swendsen [email protected] Emma Hurst www.cinemazine.net Joey Izzo w/John Zorn Taryn Jones Editor/Design Courtney Fellion Janis Crystal Lipzin Sounds Editor A.G. Nigrin A Wyman Michael Walsh Screenings Roger D. Wilson Linda Scobie With assistance from ABOUT THE FLEXI-DISC INSERT Charlie Biando Laura Conway A flexi-disc is a phonograph record made of thin, flexible vinyl. The F. O’Neill Phaedra Restad flexi included in this issue plays on a standard record player at 33rpm. Hannah Schulman Designed for magazine promotions, this sound object is particularly Kel Shipley delicate and degrades after about 50 plays. Like the printed page and worn film reel, this object is made to disappear, and a fitting addition to Thanks to Craig Baldwin a publication devoted to transcient images (and sounds). This project would not be possible without a generous grant from Southern Exposure’s Alternative FLEXI-DISC TRACKS & CONTRIBUTORS Exposure program - www.soex.org. John Davis, “Wild Air Moon” This project is an entirely not-for- GX Jupitter Larsen, “A Noisy Delivery” profit art experiment - all funds Jodie Mack, “Let Your Light Shine (B-Side)” generated by sales and donations go directly into funding the next See last page for more information.
    [Show full text]