Programme De Courts Métrages
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The 26Th Society for Animation Studies Annual Conference Toronto
Sheridan College SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence The Animator Conferences & Events 6-16-2014 The Animator: The 26th oS ciety for Animation Studies Annual Conference Toronto June 16 to 19, 2014 Society for Animation Studies Paul Ward Society for Animation Studies Tony Tarantini Sheridan College, [email protected] Follow this and additional works at: http://source.sheridancollege.ca/conferences_anim Part of the Film and Media Studies Commons SOURCE Citation Society for Animation Studies; Ward, Paul; and Tarantini, Tony, "The Animator: The 26th ocS iety for Animation Studies Annual Conference Toronto June 16 to 19, 2014" (2014). The Animator. 1. http://source.sheridancollege.ca/conferences_anim/1 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Book is brought to you for free and open access by the Conferences & Events at SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. It has been accepted for inclusion in The Animator by an authorized administrator of SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. For more information, please contact [email protected]. THANK YOU TO OUR SPONSORS THE ANIMATOR THEThe 26th Society forANIMATOR Animation Studies Annual Conference TheToronto 26 Juneth Society 16 to 19, 2014 for www.theAnimation animator2014.com Studies @AnimatorSAS2014 Annual Conference Toronto June 16 to 19, 2014 • www.the animator2014.com • @AnimatorSAS2014 WELCOME Message from the President Animation is both an art and skill; it is a talent that is envied the world over. Having a hand in educating and nurturing some of the finest animators in the world is something for which Sheridan is exceptionally proud. -
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. -
Comparative Collective Biography Animated Film Studios in Zlín (Czech
Animation studios in Gottwaldov and Lodz (1945/47-1990) - Comparative Collective Biography Animated film studios in Zlín (Czech Republic) and Łódź (Poland) were among the most successful film production centers in the Eastern Bloc. World-renowned personalities such as Karel Zeman, Hermina Týrlová, Daniel Szczechura or Zbigniew Rybczyński have worked there, and their films have won the world's most prestigious awards at festivals in Cannes, Venice, and Locarno or the Oscar Academy Award. During their existence, both studios have produced thousands of animated, puppet and combined films; an important part of their work was custom production as well, especially for television. Besides animation movies, also fiction, documentary, school or advertising films were produced in these studios. However, the history of the successful and prominent animated production of these studios has so far been presented only by popularizing or commemorative publications, portraits of individual filmmakers or analysis of selected films. The project aims to analyze and compare Gottwaldov and Lodz film animation centers. The animated production of the Short Film company´s branch in Gottwaldov (which later became an independent Film Studio Gottwaldov) followed the film production of the Baťa Company in the 1930s, was created outside of the administrative center of film production in Prague. The specific position of the in Zlín/Gottwaldov and Studio of Small Film Forms Se-Ma-For Łódź studios makes them an ideal focus of a comparative research. The research would be methodologically based on prosopographic research (i.e., on collective monographs of a selected group of studio workers). In similarity to Gottwaldov, Łódź has its tradition of film production cultivated outside the administrative center in Warsaw. -
Wmc Investigation: 10-Year Analysis of Gender & Oscar
WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S. -
Princes Et Princesses
princes2:princes2 3/08/09 13:58 Page 1 Princes et Princesses Michel Ocelot, France, 2000, couleurs Sommaire Générique, résumé .................................................... 2 Biofilmographie .................................................... 3/6 Autour du film........................................................ 4/7 Le point de vue de Xavier Kawa-Topor : L’ombre amoureuse ou la petite fabrique des images.... 8/16 Déroulant ............................................................ 17/23 Une image-ricochet .................................................. 24 Promenades pédagogiques .............................. 25/29 Bibliographie ........................................................... 30 Annexe ...................................................................... 31 Ce Cahier de notes sur… Princes et Princesses a été réalisé par Xavier Kawa-Topor. Il est édité dans le cadre du dispositif École et Cinéma par l'association Les enfants de cinéma. Avec le soutien du Centre national de la Cinématographie, ministère de la Culture et de la Communication, et la Direction générale de l’enseignement scolaire, le SCÉRÉN-CNDP, ministère de l'Éducation nationale. princes2:princes2 3/08/09 13:58 Page 2 2 — Générique - résumé Générique Résumé Princes et Princesses, Michel Ocelot, À la tombée de la nuit, entre des immeubles d’une ville moderne, France, 2000 une fille et un garçon se rejoignent dans la salle d’un cinéma abandonné. 70 minutes, animation, couleurs. Avec la complicité de l’ancien projectionniste et sous l’œil attentif -
Commercials Issueissue
May 1997 • MAGAZINE • Vol. 2 No. 2 CommercialsCommercials IssueIssue Profiles of: Acme Filmworks Blue Sky Studios PGA Karl Cohen on (Colossal)Õs Life After Chapter 11 Gunnar Str¿mÕs Fumes From The Fjords An Interview With AardmanÕs Peter Lord Table of Contents 3 Words From the Publisher A few changes 'round here. 5 Editor’s Notebook 6 Letters to the Editor QAS responds to the ASIFA Canada/Ottawa Festival discussion. 9 Acme Filmworks:The Independent's Commercial Studio Marcy Gardner explores the vision and diverse talents of this unique collective production company. 13 (Colossal) Pictures Proves There is Life After Chapter 11 Karl Cohen chronicles the saga of San Francisco's (Colossal) Pictures. 18 Ray Tracing With Blue Sky Studios Susan Ohmer profiles one of the leading edge computer animation studios working in the U.S. 21 Fumes From the Fjords Gunnar Strøm investigates the history behind pre-WWII Norwegian animated cigarette commercials. 25 The PGA Connection Gene Walz offers a look back at Canadian commercial studio Phillips, Gutkin and Associates. 28 Making the Cel:Women in Commercials Bonita Versh profiles some of the commercial industry's leading female animation directors. 31 An Interview With Peter Lord Wendy Jackson talks with co-founder and award winning director of Aardman Animation Studio. Festivals, Events: 1997 37 Cartoons on the Bay Giannalberto Bendazzi reports on the second annual gathering in Amalfi. 40 The World Animation Celebration The return of Los Angeles' only animation festival was bigger than ever. 43 The Hong Kong Film Festival Gigi Hu screens animation in Hong Kong on the dawn of a new era. -
Jiří Trnka at BFI Southbank in April 2012
PRESS RELEASE March 2012 12/12 JiĜí Trnka At BFI Southbank in April 2012 Throughout April 2012, BFI Southbank celebrates the work of the Czech animation pioneer JiĜí Trnka (1912- 69) with a retrospective season in this, the centenary of his birth. The so called Walt Disney of the East, Trinka was responsible for introducing the Czech puppet film to the world and, in doing, has influenced the work of the likes of Jean Cocteau and the Quay Brothers. The season spans the director’s career taking in his wildly ambitious feature debut, The Czech Year (1947) that traces the passage of a single year in the Czech countryside, via two programmes of shorts, Trnka Shorts for Children and Trnka Shorts for Adults, adaptations of Shakespeare (A Midsummer Night’s Dream 1959) and Hans Christian Andersen (The Emperor’s Nightingale, 1948) and a very special Q&A with director, animator and protégée of Trinka, Vlasta Pospíšilová Anyone described by Jean Cocteau as ‘a magician who knows how to value childhood dreams’ is clearly very special indeed. The founder not merely of Czech puppet film but of Czech animation in general, Trnka is highly lauded both for the excellence of his own work and for his vast and continuing creative influence. Jan Švankmajer (Greedy Guts, Faust) worked at his studio, one of Trnka’s colleagues taught the Quay Brothers puppet animation, and his associates BĜetislav Pojar and Vlasta Pospíšilová produce stop-motion films like the Fimfárum series (2002-11) to this day. Trnka first established himself as an illustrator and stage designer before co-founding Trick Brothers in May 1945. -
The Society for Animation Studies Newsletter
Volume 19, Issue 1 Summer 2006 The Society for Animation Studies Newsletter ISSN: 1930-191X In this Issue: Letter from the Editor Perspectives on Animation Studies Greetings! 2 ● To Animate in a Different Key As a new SAS member, I have found the Jean Detheux Society to be an active, welcoming, and 5 ● Simple Pivot Hinges for Cut-Out stimulating place where experienced and Animations young scholars alike can share their Mareca Guthrie passion for Animation Studies. 9 ● Czech Animation in 2005, An Artist's The SAS Newsletter represents a Journey supportive and convenient forum for our Brian Wells community to contribute to this growing News and Publications academic field and to get to know each other better. It offers an opportunity for 19 • Introductory Issue of Animation: an members to voice our ideas (Perspectives Interdisciplinary Journal on Animation Studies), to promote our Suzanne Buchan recent accomplishments (News and 22 • The Illusion of Life II and New Essays Publications), to learn what the SAS is Alan Cholodenko working to achieve (SAS Announcements), 24 • Between Looking and Gesturing: and to stay in touch with other members Elements Towards a Poetics of the (Membership Information). Animated Image Having no prior editorial experience, I am Marina Estela Graça deeply grateful to SAS president Maureen 25 • Frames of Imagination: Aesthetics of Furniss, webmaster Timo Linsenmaier, Animation Techniques each of this issue’s contributors, and many Nadezhda Marinchevska others for their indispensable help as I SAS Announcements navigated this exciting learning curve. As the Newsletter is only distributed to SAS 27 ● Animation at the Crossroads: 18th members, it can and ought to be tailored to SAS Conference, 7-10 July 2006 fit the needs of its select readership: you. -
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. -
FICAM® Maroc
03 Grille de Programmation 06 Editos 08 Hommage à Didier Brunner 09 Hommage à Peter de Sève, invité d’honneur 10 Michael Dudok De Wit, invité d’exception 11 Focus : Cinéma d’animation espagnol 17 Les projections 19 • Ouverture de la 18ème édition du festival 21 • Ecran Large 41 • Ciné Médina 43 • Pique-nique FICAM® 45 • Soirée de clôture 47 • Le festival joue les prolongations... 49 • FICAM® Maroc 51 Trop Classe le Ciné ! 65 Médiation culturelle et formation 68 • La Leçon de Cinéma de Peter de Sève 69 • La Leçon de Cinéma de Michael Dudok De Wit 70 • Les Coulisses de la Création 70 - Master Class 71 - Work in Progress 73 - Making of 75 • Cartes Blanches 77 • Expositions 79 • Un Thé à la menthe avec ... 81 • Ateliers de formation 85 • Librairie FICAM® 87 La résidence francophone d’écriture pour le film d’animation 91 Les compétitions 93 • Grand Prix Aïcha® de l’Animation 95 • Courts Compét’ 109 • Longs Compét’ 111 Infos pratiques 114 Partenaires FICAM® SOMMAIRE Trop Classe le Ciné! Dilili à Paris, en présence de 10h30 Théâtre de l’Institut français Mercredi 27 Mars 2019 Michel Ocelot, réalisateur GRILLE DE PROGRAMMATION Programme Horaire Lieu Théâtre Mohammed El Trop Classe le Ciné! La Chasse à l’ours 10h30 Mennouni Trop Classe le Ciné! Okko et les fantômes, en Vendredi 22 mars 2019 Dimanche 24 Mars 2019 présence de Kitarô Kôsaka, réalisateur et Saito 8h30 Théâtre de l‘Institut français Trop Classe le Ciné! Les Indestructibles 2 14h15 Théâtre de l‘Institut français Masahiro, producteur Programme Horaire Lieu Programme Horaire Lieu Trop -
Jan Švankmajer's Adaptations of Edgar Allan
Jan Švankmajer’s Adaptations of Edgar Allan Poe By Tim White & J. Emmett Winn Fall 2006 Issue of KINEMA TOMORROW COULD BRING SALVATION: JAN ŠVANKMAJER’S ADAPTATIONS OF EDGAR ALLAN POE Animation, as a branch of cinema, has never been accorded the respect given to other kinds of filmmaking, and as a result has never been as carefully researched as have these other cinematic modes. In an understudied art, Jan Švankmajer, the Czech filmmaker (specializing in stop-motion animation and pixilation), is even less well-known or discussed.(1) The nature of his films, which are always disturbing and frequently downright repulsive, often leads critics to discuss them in terms of only these surface elements, using them as examples of Švankmajer’s strangeness. Even more often, however, critics and filmgoers choose not to discuss his films at all, as if the images and the ideas they evoke are too disgusting - or painful - to think about. Švankmajer’s animation is unlike most worldwide animation and is particularly dissimilar to mainstream American animation.(2) His work displays the varied influences of Dadaism, Surrealism, Lewis Carroll, Edgar Allan Poe, Eisenstein, Buñuel, Fellini, and traditional Czech puppet theatre. He is especially known for pixilating (animating three-dimensional objects and even people through stop-motion cinematography) such diverse objects as dead animals, broken glass and raw meat; as Terrence Rafferty once remarked, ”Švankmajer gets directly to the root meaning of animation - literally breathing life into the lifeless.”(3) He avoids dialogue in most of his work and often incorporates familiar children’s tales in violent, deadly, frightening visions of a world that we uncomfortably recognize as part of our everyday lives. -
Ernest & Celestine
ANGEL FILMS PRÆSENTERER Ernest & Celestine En RABALDER BIO film Instrueret af Stéphane Aubier, Vincent Patar & Benjamin Renner. Manuskript af Daniel Pennac Kontakt: Peter Sølvsten Thomsen, [email protected] Ernest & Celestine Dansk synopsis I en underjordisk by bor musene. Her får den lille kunstneriske mus Celestine fortalt skræmmehistorier om de farlige og brutale bjørne, der bor i deres egen by oppe på overfladen. Trods advarslerne drømmer Celestine om venskab mellem mus og bjørne. Denne drøm bliver sat på prøve, da Celestine møder den temperamentsfulde og fattige bjørn Ernest. Det bliver starten på et umage venskab, som både bjørne og mus forsøger at stoppe. Men Ernest og Celestines venskab er stærkt, og de giver ikke op frivilligt. Danske stemmer Ernest Lars Brygmann Celestine Iris Mealor Olsen Øvrige medvirkende Ann Hjort Bjarne Antonisen Henrik Koefoed Jesper Voetmann Laurits Laursen Liva Stehr Nielsen Lue Johan Mads Dueholm Mads Haaber Mads Knarreborg Søs Egelind Kontakt: Peter Sølvsten Thomsen, [email protected] RABALDER BIO RABALDER BIO viser anderledes, prisvindende og ambitiøse børnefilm. Rabalder Bio er udviklet af Angel Films og realiseret via et samarbejde med Det Danske Filminstitut. Målet er at skabe bedre synlighed og bevågenhed for udenlandske børnefilm, der under normale omstændigheder ikke ville komme i dansk distribution. Rabalder Bio præsenterer børn og deres familier for unikke, ambitiøse og prisvindende kvalitetsfilm fra det store udland. Børnefilm fra lande som Frankrig, Spanien, Italien, Belgien og mange andre. Det er film med noget på hjerte, hvor den gode historie er i højsædet, og hvor der er kælet for animationen – slet og ret film, der underholder og udfordrer børnene – og de voksne.