A Festival of Animation for Creatures of All Ages! 1300-1900Hrs

a Festival of aNimaTion for crEatures of aLL AgeS! 1300-1900hrs

programme of film screenings program inside these pages! Welcome to the Factory Animation Festival 2011 sponosored by nobody.

The animations will be running all afternoon and are split up into three blocks between 1300-1430hrs, 1430-1600hrs and 1600-1730hrs. (There might be some late entries being shown later!) Please read on in the programme to find out what types of animation are showing and when.

Screen One is located in the Main Room on the ground floor. Screen Two is on the 1st floor in the Function Room (left at the top of the stairs).

There is a cafe on the ground floor through the bike room. There is tea, coffee and homemade vegan cakes being served up.

The whole day is open to everyone. If you are able to donate to help pay the costs for the food and set up of the festival, that would be very much appreciated.

We run regular events here at the Factory, there’s a People’s Kitchen on Tuesday nights from 8pm, where food is served for donations; and on Wednesday nights from 7pm there is a film night each week.

If you would like to know more, please ask around today, or check out our noticeboard on the outside of the building on Cave Street. Also you can have a look at the website http://www.bristolspaceinvaders.wordpress.com to find out information about our upcoming events and how to get involved.

Each Thursday at 7pm we have an open meeting where we discuss different projects and events in the space and anyone is welcome to come and share ideas and become part of the project in whatever way you would like to.

The smoking area is upstairs on the first floor landing next to the info tables. Please feel free to look around the ground and first floor to see the rest of the social centre and don’t hesitate to ask people about the space and what it’s all about... program inside these pages! Screen one l3OOh When The Day Breaks

Wendy Tilby & Amanda Forbis (l999) Can.

A quick trip to the shops by the main character, a pig named ruby, is turned by the sudden death of a stranger into a fluid portrayal of the connections between us all in everyday city life. The style of animation is detailed and full of texture, createdPuleng using pencil and paint on photocopies of selected shots from hi8 footage of real actors.Ali Taylor (2OO4) U.K.

A very short but atmospheric cgi. ‘Puleng’ is set on a southern African farm where the main character is struggling to support herself and an elderly relative during a drought.

The Saint Inspector Mike Booth (l996)

High above snow topped mountains a fat Buddha-like saint sits motionless in meditative silence on a small wooden platform, waiting for the inspector, an officious stitched leather mechanoid. Mike Booth started his career in animation working on some of ‘The Morph Files’.

Neighbours Norman McLaren (l952) Can.

Neighbours is McLaren’s m ost known film and utilises pixilation, a technique where live actors are used as frame by frame subjects. In this case 2 neighbours who (upon the discovery of a flower in previously undisputed territory) start to argue. After being in China and having faith in human nature reinvigorated by the beginning of Mao’ revolution then the Korean war starting McLaren “decided to make a really strong film about anti-militarism and against war.” The scene involving the murders of the wives and kids is of a lower quality as it was deemed inappropriate until after the Vietnam war by which time the original negatives had been destroyed. The 16bit sounding music was made by actually scratching onto the soundtrack of the film. Screen one l3OOh When The Day Breaks Histoire Tragique avec un Fin Heureuse/Tragic Story with a Happy Ending Regina Pessoa (2OO6) Por. Wendy Tilby & Amanda Forbis (l999) Can. The story of a young girl born with a bird’s heart and her interaction with the village. In black and white Pessoa makes exciting use of light and shadows. “My uncle used to draw on the walls and on the doors of A quick trip to the shops by the main character, a my grandmother’s home, with pieces of coal. Seeing my uncle drawing on pig named ruby, is turned by the sudden death of a the walls gave us a sense of freedom because we didn’t have paper and stranger into a fluid portrayal of the connections pencils but we always had walls and doors, maybe this stayed with me between us all in everyday city life. The style of unconsciously because know, much later, it’s already the second film Puleng animation is detailed and full of texture, created that I’m making in engraving technique” using pencil and paint on photocopies of selected shots from hi8 footage of real actors.Ali Taylor (2OO4) U.K. The Old Lady and the Pigeons Sylvian Chomet (l998) Fr.

From the creator of ‘Belleville Rendezvous’ and ‘The Illusionist’ a starving gendarme decides to exploit an old lady by dressing as a A very short but atmospheric cgi. ‘Puleng’ is set on pigeon to get fed. Chomet describes his style as “based on mime and a southern African farm where the main character is character acting.... more influenced by live camera work than by struggling to support herself and an elderly relative animation.” during a drought.

The Saint Inspector Mike Booth (l996)

High above snow topped mountains a fat Buddha-like saint sits motionless in meditative silence on a small wooden platform, waiting for the inspector, Screen two l3OOh an officious stitched leather mechanoid. Mike Booth started his career in animation working on some of ‘The Morph Files’. Into Pieces Guilherme Marcondes (2OO4) Bra. Neighbours Norman McLaren (l952) Can. This animation depicts the absolute frustration in not being able to complete seemingly simple tasks, especially when some Neighbours is McLaren’s m kind of super hero turns up to show you how easy it is. When ost known film and utilises pixilation, a technique Marcondes and Daniel Bueno met up in a bar to create the story where live actors are used as frame by frame the spread out some illustrations and concluded, “they all have subjects. In this case 2 neighbours who (upon the this mixed feeling somewhere between pop cartoons and modernist discovery of a flower in previously undisputed art collage and that definitely gave us a hint of the right territory) start to argue. After being in China and mood for the film.” having faith in human nature reinvigorated by the beginning of Mao’ revolution then the Korean war The Bead Game starting McLaren “decided to make a really strong Ishu Patel (l977) Can. film about anti-militarism and against war.” The scene involving the murders of the wives and kids is The Bead Game was inspired by Inuit bead work and by using of a lower quality as it was deemed inappropriate beads on black background looks at prehistoric beings devouring until after the Vietnam war by which time the each other, gradually evolving into humans spearing, shooting original negatives had been destroyed. The 16bit then bombing each other as a warning against nuclear warfare. sounding music was made by actually scratching onto Ishu Patel has directed a range of other animations including the soundtrack of the film. l97Os sex education shorts and bits for ‘Sesame Street’ his best known work is Paradise. Huset Pa Kamper/One Day a Man Bought a House Pjotr Sapegin (l998) Nor.

A clay-mation in which a man moves into a house only to find that no matter what he tries he cant get rid of the incumbent occupier, a rat. One of l6 shorts so far directed by Sapegin who says “When I make puppet animations, I feel like I’m working with real actors, with the help of puppets I get closer to the film.”

The Mermaid Alexander Petrov (l996) Rus.

Petrov’s animations are pastel oil paintings on glass in a style of romantic realism. The Mermaid is based on Alexander Pushkin’s Rusalka and in turn on traditional Russian folklore where ‘succubi’ or siren-like mermaids (rusalki) are said to be the tormented souls of female suicides.

Madame Tutli Putli Chris Lavis & Maciek Szczerbowski (2OO7) Can.

Madame Tutli Putli dressed in l92Os garb with all her worldly possessions waits hunched and tentative for her train. Rather quickly her journey becomes a horrifying ordeal in this suspense filled thriller. The animation was made with silicone puppets and pioneers the technique of using composited human eyes. Since Madame Tutli Putli Clyde Henry Productions (Lavis and Szczerbowski) have also made Higglety Pigglety Pop! Or There Must Be More To Life.

Cousin Adam Elliot (l998) Aus.

This is Adam Elliot’s (Harvey Krumpet, Mary & Max) first professionally made film. “cousin” is a stop motion animation without digital enhancement that uses clay models to give a short, moving yet, amusing biography of a child with cerebal palsy.

Siren Raoul Servais (l968) Bel.

A tragic mermaid-based love story set in red skied docklands inhabited by merciless cranes, screeching pterodacyls, a lonely fisher and an uncompromising legal system. Siren presents a number of good visual jokes both because of and despite the imposed social order and environmental decay. Screen one l43Oh

Harvie Krumpet Adam Elliot (2OO3) Aus.

From the moment he was born, Harvie’s life has been an unending series of unfortunate mishaps. From being born with Tourette’s syndrome to succumbing to the ravaging effects of Alzheimer’s disease in later years, the dark clouds gathered over Harvie’s head have never ceased or parted, yet somehow this hapless soul seems to enjoy all of life’s riches regardless.

Moo(n) Leigh Hodgkinson (2OO4) U.K.

Moo(n) is about a friendship between a little girl and a cow. This is all very good until the girl catches a cold. Robert Llewellyn narrates and Matt Lucas provides the voice of an angry bee. In black and white with cut-out like characters the movement between shots is fluid and plays with the 2D/3D divide.

Panique Au Village -Gateau/A Town Called Panic -Cake Stephane Aubier and Vincent Patar (2OOO) Bel.

The first of 2O episodes that pre-empt the 2OO9 film of the same name, A Town Called Panic is a hilarious but crudely made stop motion whose main protagonists are a horse a cowboy and an indian called Horse, Cowboy and Indian. They all live together in a state of perpetual chaos the animation is very haphazard but this only adds to the overall effect as the directors point out “we’re very fond of the simplicity of our current animation technique as it gives us the chance to actually improvise while shooting and the possibility to be spontaneous is a very rare and precious opportunity in animation.”

Chromophobia Raoul Servais (l966) Bel.

The cel animation that brought Servais international acclaim in which an army of black clad, angular, angry and identical soldiers invades and attempts to install colourless totalitarianism. The symbolism used to portray this and the resistance to it would be difficult to express through mediums other than animation.

The Man With Beautiful Eyes Johnathan Hodgson (2OOO) U.K.

This is an animated version of Bukowski’s poem of the same name, from ‘The Last Night on Earth’. A paint-on-paper cel animation which combines realism in terms of what’s happening in the poem and the symbolism of the poem’s text used as imagery to convey suburban monotony. The last scene depicts a pawnshop called Chinaski’s a pseudonym of Bukowski’s. Strings Wendy Tilby (l99l) Can.

The stop-motion animation in Strings was made by using watercolours and glycerine on glass. The fluidity of which is amplified through liquid being a running theme. The story is about two neighbours who, despite their proximity, have quite unconnected lives. There is also a short National Film Board of Canada documentary in which Tilby explains some of the creative process behind Strings.

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Ward l3 Peter Conwell (2OO3) Aus.

After being hit by an ambulance, the star of this stop frame thriller wakes up in a hospital more strange than Garth Marenghi’s dark place.

The Fly/A Legy Ferenc Rofusz (l98O) Hun.

When The Fly won an Oscar in l98O Rofusz was shocked to watch a mystery man accept the award for him (unable to attend himself, not being allowed to leave communist Hungary). The animation shows a day in the life of a fly, shot from the fly’s perspective through a fish eye lens, as it buzzes through a sepia and black painted landscape to a house where drama awaits.

Ah Pook Is Here Philip Hunt (l994)

Based on the collaborative work of William S. Burroughs and Malcolm McNeill which they first intended to be a ‘word/image novel’ predating the term graphic novel. The book was published in l979 but included only the text. The graphic novel will finally be published this year! A bizarre spacey animation with a soundtrack of Burroughs and John Cale taken from the ‘Dead City Radio’ album (l99O).

Game Over PES (Adam Pesapane) (2OO6)

PES makes fantastic stop motion animation using random household items. This montage plays homage to oldskool arcade games and includes space invaders pacman and asteroids. PES takes inspiration from Jan Svankmajer and despite having the ability to draw likes things to go faster. It’s about “bringing ideas to life without having to first worry about drawing these objects or rendering and texturing them.” He sums up Game Over by saying “death is what I remember most about gaming in the ‘8Os”, and did it as a personal challenge to prove he could make a film completely unaided. Hasta Los Heusos/Down to the Bone Rene Castillo (2OOO) Mex.

When the central character in this clay-mation dies, he is surprised to find himself in the world of the dead where Catrina herself is there to greet him singing ‘La Llorona’ with the voice of Eugenia Leon. Vividly coloured almost day of the dead carnivalesque.

Dreams and Desires- Family Ties Joanna Quinn (2OO6) U.K.

Joanna Quinn’s distinctive pencil based animations are usually rendered on cel or paper. This one resurrects Beryl a character from previous animations Girls Night Out and Body Beautiful as the video documentor for a wedding (with aspirations of being a great director). Quinn’s remit is ‘to produce high quality accessible animation which is observationally based and explores significant aspects of the contemporary human experience, often using humour as an essential element.’ the wedding is completely chaotic which is partly down to Beryl.

Au Bout Du Monde/At The Ends Of The Earth Konstantin Bronzit (l999) Fr.

Au Bout Du Monde from the director of Lavatory Lovestory and Alosha is an almost slap-stick animation packed with visual jokes which shows us a day in the life of a household balanced precariously on a mountain top.

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The Snail on the Slope Vladamir Todorvic (2OO9) Serb/Singapore. Based on the Strugatsky brothers’ novel by the same name, this generative sci-fi animation is set on a unknown planet where humans are trying to conquer the forest. Split into five chapters, critically looking at both artistic and scientific understanding of nature. Highly abstract and mostly black and white.

The Chain Phil Mulloy (l998) U.K. Mulloy’s distinctive skeletal characters and style are again used to explore the darker side of human nature in a satirical way. What starts as a child’s art being thrown away, turns into an apocalyptic chain reaction. Mulloy uses colour more here than in his previous work. Dog Suzie Tempelton (2OO2) U.K.

A bleak, short stop-frame animation involving a farther, son and dog, all in mourning for mum. Stylus magazine reviewed it by explaining Dog “mixes a strong story with Wallace and Gromit on heroin art direction.”

Skhizein Jeremy Clapin (2OO8) Fr.

A l5O ton meteorite is bound to leave its mark and does to Henri, unless of course it’s all in his mind. The two dimensionality of the characters and the colour-scheme of greys, browns and sepias accentuate Henri’s loneliness and struggle. “Skhizein started as an etching of a man, in a sitting position, but with his chair a few feet away. Taking this very graphic idea I soon realised that there was a way to develop it into a tale,” says Clapin also director of A Backbone Tale.

I Met The Walrus Josh Raskin (2OO7)

In l969 a l4 year old Jerry Levitan crept into John Lennon’s hotel room and managed to record a 4O minute interview about 6 minutes of which are used in I Met The Walrus. With strong similarities to Yellow Submarine traditional pen techniques are combined with digital animation to visually represent what Lennon’s trying to say word for word.

French Roast Fabrice O Joubert (2OO8)

In a Parisian cafe a businessman shoes away a beggar then discovers he has lost his wallet. With minimal dialogue the characters demonstrate how appearance can be deceptive. Joubert believes animation as a medium gives “the freedom to create characters and environments that don’t exist in reality and then make them believable for the audience.”

Nibbles Christopher Hinton. Can

Black and white with a splash of red, Nibbles is a quick paced documentation of 3 men (Hinton and sons) who go fishing and eating, mostly eating. The pen and ink drawing is reminiscent of Quentin Blake. The soundtrack is a lone banjo, which works well with the jarred high speed style and subject matter. Screen two l6OOh

Tango Zbigniew Rybcziyńsky (1982) Pol.

All of the action in Tango takes place within a single static shot of a simple room in a house with 3 doors and 1 window. Over the 8 minutes du- ration, separate characters, are all oblivious to each other and each perform an activity on loop: entering, occupying and leaving the scene. This builds up to a chaotic and claustrophobic climax of 36 users of the space.

Vincent Tim Burton (l982) U.S.

Vincent is Burton’s first short. Black and white stop motion. Mixing 2d & 3d animation in a style he has evolved in later work. Homage is paid to both Edgar Allen Poe and Dr. Seuss. The story is narrated in ryhming couplets by Vincent Price, a hero of both Burton and the protagonist a 7 year old little boy who considers himself a lost and tormented soul.

Eternal Gaze Sam Chen (2OO3) U.S.

Made to celebrate the life of Alberto Giacometti artist and sculptor who claimed not to be a sculpting the human figure but ‘the shadow that it cast’. Eternal Gaze is set in Giacometti’s workshop. Predominantly black and white it shows the intense emotional nature of the art/artist relationship. Chen explains that “animators are frustrated actors, I am the one who is acting as Giacometti and so I had to almost feel his torment and strive for the impossible.” Eternal Gaze was made entirely by Chen (powered by coffee) and a computer.

Fallen Art Tomek Baginski (2OO4) Pol ‘Fallen Art’ tells the story of what could happen is stop motion animators had no respect for the value of human life and a military at their disposal. Set on a forgotten base somewhere in the Pacific and featuring the aptly named song ‘Asfalt Tango’ from Romanian band ‘Fanfare Ciocărlia. Whilst still working on the storyboards the global situation changed and Baginski’s brother came across the music ‘consequently we decided to make the story much darker than in the beginning’ claims Baginski. Every Child Fedorenco and Lamb (1979) Can.

A simple pastel shaded cel animation that follows the journey of an unwanted child from doorstep to doorstep. Made for the UN/UNICEF year of the child. The sound is done completely vocally by ‘Les Mimes Electriques’.

Looking for Horses Anthony Lawrence (2OOO) Aus.

Written by Chrissie McMahon and directed by Anthony Lawrence. A stop motion animation with plastic based modeling. Set on a desolate feeling island, a family holiday is narrated from the perspective of the elder of the two daughters as they come to realise that their parents relationship is breaking down.

Balance Wolfgang Lauenstein (1989) Ger.

This eerie stop-frame takes place on a floating platform, the stability of which depends on the five creepy, grey coated men who alone occupy the platform, this equilibrium is disrupted with the arrival of a music box

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The Sandman Paul Berry (l992)

This stop-motion has a dark and menacing appearance with gothic architecture and eerie characters. It won’t come as much of a surprise that Berry worked on animation for Nightmare Before Christmas and James and the Giant Peach.

Sergei Prokofiev’s Peter and the Wolf Suzie Tempelton (2OO6)

‘Peter and the Wolf’ has had a number of animated incarnations. This one adds some interesting context and character development. With music by the philharmonia orchestra although (in keeping with Prokofiev’s educational intentions) Tempelton’s Peter and the Wolf was made to be screened in concert halls with the accompaniment of live orchestras. The Tale of How The Blackheart Gang (2OO6) S.A.

The second part of The Dodo Trilogy (along with The Tale of Then and The Tale of When). The Dodo Trilogy itself fits into an epic lifetimes work entitled The Household. In the incredibly detailed, beautiful and operatic Tale of How a giant octopus named ‘Otto the monster’ eats dodos that inhabit the island on his head. Aided by a mouse, the dodo’s fight back. Each scene used approximately 3OO layers to create a lengthy process, but the resulting animation looks stunning.

The Pearce Sisters Luis Cook (2OO7) U.K.

The story of the Pearce sisters is taken from Mick Jackson’s Ten Sorry Tales. Cook wanted to make something the antithesis of other Aardman animations. So The Pearce Sisters is 2D and full of desolation, darkness and violence. The sisters live by the sea and Cook “was trying to give a sense that the film itself could have been washed up by the sea.” They prey on the victims of shipwrecks.

Holding Your Breath Anthony Lucas (2OOO) Aus.

Set in a heavily industrialised town, Anthony Lucas (Mysterious Geographic Explorations of Jasper Morello, Shadowlands) employs spindly sepia silhouettes in a style which he calls ‘the shadowlands’ (also the title of his first film) to explore the changing nature of an adolescent relationship.

Intolerance Phil Mulloy (2OOO) UK.

The first of a trilogy that explores the themes of our relationship with authority, looking particularly at intolerance and conformism. Deeply satirical and done in a minimalist, dark style with almost skeletal characters. Intolerance takes extra-terrestrial invasion to the next level. Intolerance II and III are progressively more bizarre and twisted.

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