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NO TEMPO DA ANIMAÇÃO Movie-Se NO TEMPO DA ANIMAÇÃO

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NO TEMPO DA ANIMAÇÃO Movie-Se NO TEMPO DA ANIMAÇÃO NO TEMPO DA ANIMAÇÃO MOVIE-SE NO TEMPO DA ANIMAÇÃO EDITADO POR GREG HILTY E ALONA PARDO 1a EDIÇÃO RIO DE JANEIRO CENTRO CULTURAL BANCO DO BRASIL 2013 PREFÁCIO 6 APARIÇÕES 42 PERSONAGENS 74 OBJETO, SONHO E IMAGEM NA ANIMAÇÃO 12 SUPER-HUMANOS 98 GREG HILTY FÁBU L AS 120 A CAIXA DE FERRAMENTAS DA FR AGMENTOS 150 TECNOLOGIA E DA TÉCNICA 20 A ANIMAÇÃO EM 100 OBJETOS ESTRUTURAS 168 PAUL WELLS VISÕES 186 FANTASMAS NA MÁQUINA 30 BIOGRAFIAS 194 VIVENCIANDO A ANIMAÇÃO ENGLISH VERSION 216 SUZANNE BUCHAN CRÉDITOS E AGRADECIMENTOS 260 PREFÁCIO Somos gratos, como sempre, aos artistas e cineastas que aceitaram Também gostaríamos de agradecer nossos parceiros no evento, generosamente participar dessa mostra ambiciosa, incluindo Francis Alÿs, notadamente a Assemble CIC. Seu projeto remoto em East London, Martin Arnold, Ralph Bakshi, Jirí Barta, Patrick Bokanowski, Christian Folly for a Flyover – apoiado pela Create 11 e inspirado pela Watch Me Boltanski, Robert Breer, Tim Burton, Cao Fei, Nathalie Djurberg, Harun Move – estende o compromisso da Barbican Art Gallery de trabalhar Farocki, Ari Folman, Terry Gilliam, igloo (Ruth Gibson e Bruno Martelli), além-muros. Nossa colaboração com a IdeasTap nos deu a oportunidade Animação é evocar a vida. William Kentridge, Caroline Leaf, Ruth Lingford, Frank e Caroline Mouris, de trabalhar com recém-graduados e animadores nascentes, e por isso Eadweard Muybridge Yuri Norstein, Julian Opie, os Irmãos Quay, Zbigniew Rybczynski, Bob somos gratos. Um muito obrigado ao Adam Mickiewicz Institute e ao Sabiston, Marjane Satrapi, Semiconductor, Jan Švankmajer, Jim Trainor, Polish Cultural Institute por seu apoio contínuo a nosso programa público Ryan Trecartin, Kara Walker, Tim Webb, Run Wrake e Zhou Xiaohu. ambicioso. Nossos agradecimentos especiais se estendem a seus representantes, que Finalmente, este projeto nunca teria sido possível sem uma tornaram esses empréstimos possíveis: Elizabeth Dee, Nova York; Galerie equipe dedicada. Em particular, nossos agradecimentos à assistente de Martin Janda, Viena; Gió Marconi, Milão; Lisson Gallery, Londres; Long exibição Juliette Desorgues, à assistente de curadoria Zofia Trafas e à March Space, Pequim; Marian Goodman Gallery, Nova York; e Sikkema bolsista Inspire Sunny Cheung, que organizaram a exposição com tanto Jenkins & Co., Nova York. conhecimento e diligência; às estagiárias de curadoria Alicja Grabarczyk, Gostaríamos de estender nosso obrigado especial a Greg Hilty, Annabel Potter e Marina La Verghetta, por seu apoio; a nossos colegas que trabalhou incansavelmente no projeto desde o início. Sua visão do do Barbican Cinema Robert Rider, Emma Watkins, Moira McVean e lugar da animação na cultura contemporânea, tanto passada quanto Cathy John, que generosamente compartilharam seu conhecimento presente, resultou em um conjunto único de trabalhos que reúne artistas, especializado do mundo do cinema conosco pelos últimos doze meses; cineastas e estúdios de diversas gerações e culturas. a Neil McConnon, chefe da Barbican International Enterprises, e Gemma Nós nos beneficiamos enormemente de diálogo contínuo com Hollington, coordenadora de mostras, por trabalhar junto aos nossos diversos acadêmicos que ajudaram a dar forma e a cristalizar nosso parceiros de turnê no Canadá e na Ásia para garantir a transição suave pensamento sobre esse assunto. Paul Wells, que também contribuiu com da mostra; a Peter Sutton e sua equipe por produzirem a mostra com O poder e o potencial da animação têm inspirado artistas e cineastas Uma mostra dessa escala e complexidade não teria sido possível um profundo texto para esta publicação, traçando o desenvolvimento sua habilidade, dedicação e calma de sempre; à gerente sênior Katrina desde o fim do século XIX. Sob a aparência de pesquisas pseudo- sem a generosidade e o apoio de muitas organizações, estúdios, coleções tecnológico da animação nos últimos 150 anos, ofereceu de boa Crookall; e aos colegas de relações com a mídia e marketing do Barbican científicas, pioneiros da era pré-cinema como Eadweard Muybridge e indivíduos, incluindo Aardman Animations, Bristol, Reino Unido; vontade seu vasto conhecimento sobre a área. Igualmente, a orientação Ann Berni, Jess Hookway, Kate Ballard e Rachel Taylor, que trabalharam e Étienne-Jules Marey fizeram grandes avanços no desenvolvimento Anthology Film Archives, Nova York; Association Frères Lumière, Paris; especializada de Gareth Evans foi inestimável durante a pesquisa e o incansavelmente para garantir que a exposição alcançasse a maior da mídia nascente, seguidos rapidamente no começo do século XX Ligia Borowczyk; Marilyn Brakhage; British Film Institute, Londres; Center desenvolvimento do projeto. O conhecimento incomparável de David audiência possível. por figuras dissidentes do primeiro cinema como Winsor McCay e os for Visual Music, Los Angeles; Cinédoc – Paris Films Coop; Cinémathèque Curtis da história do cinema experimental e expandido, britânico e irmãos Lumière. Esse fascínio pelas possibilidades ilimitadas da animação Française, Paris; CNC – Archives Françaises du Film, Paris; Dominique internacional, contribuiu para dar forma à seção “Estruturas” da mostra, continua inabalável até hoje, da introdução de imagens geradas por Duvergé-Ségrétin, Paris; Filmform – The Art Film & Video Archive, pelo que somos agradecidos. Como consultora da mostra e ensaísta, Jane Alison computador nos anos 1980 à apropriação da animação por uma Estocolmo; Filmoteka Narodowa, Varsóvia; Gaumont Pathé Archives, um muito obrigado a Suzanne Buchan, tanto por entrar em animado Chefe em atividade de galerias de arte / Curadora sênior variedade de artistas contemporâneos, incluindo Kara Walker e Nathalie Saint-Ouen; Halas & Batchelor Collection, Lewes, Reino Unido; Harry Smith diálogo em um estágio crucial da vida do projeto quanto por considerar Barbican Centre Djurberg. Archives, Nova York; Inkwell Images, Morley, Michigan, EUA; iotaCenter, a experiência do espectador da animação no núcleo de seu texto. Clare Traçando a história da animação dos últimos 150 anos, MOVIE-SE: Los Angeles; Kingston Museum and Heritage Service, Londres; Krátky Kitson ajudou a assegurar a participação ativa do celebrado cineasta Alona Pardo No Tempo da Animação reúne, pela primeira vez, recortes, colagens, Film Praha, Praga; Library of Congress, Washington, D.C., EUA; Light russo Yuri Norstein, pelo que agradecemos enormemente. Por último, Curadora fantoches, animadores de barro e stop-motion, cineastas-autores, Cone, Paris; Lobster Films, Paris; LUX, London; Manga Entertainment, mas não menos importante, Adam Pugh, que se juntou a nós como Barbican Art Gallery artistas contemporâneos e exponentes d os filmes experimentais ao London; L.B. Martin-Starewitch, Paris; Fabrizio Modina, Turim; Mushi curador pesquisador no começo do desenvolvimento da mostra, lado de resultados criativos de estúdios comerciais, de Fleischer a Walt Production, Tóquio; National Film Board of Canada, Montreal; National contribuiu com importantes informações ao projeto. Disney, de Hanna-Barbera a Aardman, e de Ghibli a Pixar. Apresentando Media Museum, Bradford, Reino Unido; NBC Universal, Universal City, O projeto de uma mostra predominantemente sobre imagens a animação como uma força característica e com forte influência no Califórnia, EUA; Tamara Pappé, Paris; Pixar Animation Studios, São em movimento foi um desafio que os aclamados designers berlinenses desenvolvimento da cultura visual, essa mostra – junto com a publicação Francisco; Ray & Diana Harryhausen Foundation, Londres; Paul Shoefield, Chezweitz & Roseapple enfrentaram desde o começo com grande estilo. que a acompanha – explora a hierarquia contenciosa entre a animação Londres; Soyuzmultfilm, Moscou; Studio Ghibli, Tóquio; Thunderbean Na Merrell, gostaríamos de estender nosso obrigado a Hugh Merrell, e o cinema, e oferece uma reflexão oportuna sobre a animação como Animation, Ann Arbor, Michigan, EUA; Toei Animation, Tóquio; 20th Claire Chandler, Mark Ralph, Nicola Bailey e Alexandre Coco por sua IO um fenômeno cultural e sócio-político importante e presente em todos Century Fox Films, Los Angeles; Walt Disney Animation Research Library, habilidade e profissionalismo, bem como sua abordagem criativa ao FÁC E MOVIE-SE os lugares. Los Angeles; e Warner Bros., Burbank, California, EUA. design desta publicação. PR 6 7 Ministério da Cultura e Banco do Brasil apresentam “MOVIE-SE: No Tempo da Animação”, exposição que oferece um panorama da animação como suporte artístico e entretenimento, desde os primeiros ensaios ligados à imagem em movimento até as mais ousadas experiências que vinculam esse meio ao vídeo-game e à arte contemporânea. Idealizada e desenvolvida pela instituição inglesa Barbican Centre, um dos principais centros de arte da Europa, a mostra permitirá ao público o encontro com mais de 100 títulos, propiciando a interação do visitante com lembranças de infância ou com novos desafios audiovisuais. Ao realizar esta mostra, o Centro Cultural Banco do Brasil coloca em destaque a animação como expressão cultural e artística que tem influenciado a formação de várias gerações. IO FÁC E MOVIE-SE PR 8 9 OBJETO, SONHO E IMAGEM NA ANIMAÇÃO* GREG HILTY Os filmes de animação não são uma “interpretação dos sonhos” num ponto de vista de uma realidade freudiana, mas uma interpretação da realidade do ponto de vista do sonho. Richard Weihe Os produtos da animação são tão variados em sua origem e forma animais fazem pelo menos uma, e em muitos casos mais de uma, que poucas generalizações sobre essa mídia resistiriam
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