DOCSLIB.ORG

Your Contact with the Central and Eastern European Animation Industry

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Your Contact with the Central and Eastern European Animation Industry Your contact with the Central and Eastern European animation industry CEE Animation 2019 Table of contents About CEE Animation 2 Organizers of CEE Animation 3 CEE Animation Forum 4 CEE Animation Workshop 5 CEE Animation Talents 6 CEE Animation at MIFA 2019 8 CEE Animation in Annecy 2019 34 National Animation Today 42 access to markets, tutoring, pitching, networking The pitching competition is open in three categories: • Short Films (single films under 20 min.) • Series / TV Specials (series of any format and single films over 20 min.) • Feature Films deadline for submissions: January 2020 dynamic tailor-made workshop for experienced animated film producers CEE Animation Workshop is a yearlong programme of training, project development and networking for producers and their creative teams, focusing on animated or hybrid projects of all lengths and types. It is also open to professionals (studios, freelancers, public institutions, distributors, broadcasters, etc.) who have an interest in animation but no project in development. deadline for submissions: September 2019 dissemination and promotion of short films by promising young talents Our primary ambition is to raise awareness of animation by young artists from CEE and provide assistance for its further development, visibility and distribution throughout the year. The selection focuses on filmmakers who are already above average and whose creativity indicates promising careers in the future. Or SLOVENIAN ANIMATED FILM ASSOCIATION (DSAF) g Sasa Bach / Board Member / [email protected] anizers of CEE Animation Igor Prassel / Member / [email protected] www.dsaf.si ASSOCIATION OF CZECH ANIMATION FILM (ASAF) Martin Hovorka / Chairman / [email protected] Marek Tousek / Deputy Chairman / [email protected] Michal Podhradsky / Deputy Chairman / [email protected] www.asaf.cz MOHOLY-NAGY UNIVERSITY OF ART AND DESIGN BUDAPEST– ANIMATION DEPARTMENT (MOME ANIM) Gyorgyi Falvai / Coordinator / [email protected] www.mome.hu SLOVAK ASSOCIATION OF ANIMATED FILM PRODUCERS (APAF) Juraj Krasnohorsky / Board Member / [email protected] Verona Dubisova / Board Member / [email protected] www.apaf.sk POLISH ANIMATION PRODUCERS ASSOCIATION (SPPA) Zofia Horszczaruk / Project Manager of Warsaw Kids Film Forum and National Coordinator of SPPA / [email protected] www.sppa.pl or visit the Polish Booth 4.C27 MEET OUR TEAM AT MIFA 2019 CEE Animation CEE Animation Forum & Workshop Marta Jallageas Juraj Krasnohorsky [email protected] [email protected] CEE Animation Forum & Workshop CEE Animation Forum Jozko Rutar Michal Podhradsky [email protected] [email protected] This access-to-markets, tutoring, pitching and networking event directed at animated projects in development mainly from the CEE region has grown over the years to become the largest platform for the animated film industry in Central and Eastern Europe. The event is based on a pitching competition open to animated short films, series / TV specials and feature films in development. The CEE Animation Forum has grown into a platform where producers can build networks among themselves and with CEE region broadcasters, present new talents and their creative work to EU producers and help find financing and distribution for their projects. In addition to the main pitching competition, the three-day programme offers a number of networking and business opportunities, as well as lectures, masterclasses, works in progress and screenings. CEE Animation Forum was formerly organized under the name Visegrad Animation Forum in Třeboň, Czech Republic, annually since 2013. The deadline for applications for the pitching competition is January 2020. For more information, please visit www.ceeanimation.eu. The CEE Animation Workshop is a dynamic, tailor-made workshop for experienced animated film producers, open to teams of producers and authors from the CEE region and all European low production capacity countries. This advanced networking and training activity focuses on animated films in development (shorts, features, TV series and web formats). The workshop is divided into three one-week residential modules taking place in various capital cities in Central and Eastern Europe. The aim of the training is to provide tutoring in the field of content development, starting with consultancy on the script as well as artistic and production consultancy. Lectures and presentations on recent trends in production, marketing and distribution, case studies of international co-productions, financial and legal matters and other important elements will be provided by acclaimed international experts. The yearlong programme focuses on three intensive modules, each six days long. In addition, participants will have the opportunity to pitch projects and receive subsequent online consultancy. The deadline for applications is September 2019. For more information, please visit www.ceeanimation.eu. This project is intended as alternative promotion of the most talented young animation filmmakers from Central and Eastern Europe. It aims to present internationally the nine best films made by young and debuting artists in a given year to a professional audience and the general public. The selection of films focuses on extraordinary talents whose work promises successful future careers. The project counts on presenting this compilation at selected European animated film festivals, and drawing attention to new talents and bringing them together with experienced foreign producers. Apart / Spolu sami (2018, Czech Republic), d. Diana Cam Van Nguyen, p. Karolína Davidová, sales: Karolína Davidová / [email protected] Bless you! / Na zdrowie! (2018 / Poland), d. Paulina Ziółkowska, p. Polish National Film School in Lodz sales: Miyu Distribution / [email protected] Cloudy / Pod mrakem (2018, Czech Republic), d. Zuzana Čupová, Filip Diviak, p. Lukáš Gregor / Tomas Bata University in Zlín sales: Tomas Bata University in Zlín / [email protected] Dance of Love / Ples ljubezni (2018, Slovenia), d. Leo Černic, p. Nina Robnik / UL AGRFT, sales: UL AGRFT / [email protected] I am not Playing Anymore / Ja sa nehrám (2018, Slovakia), d. Matej Babic, p. Adam Schwarz / FTF VSMU, sales: FTF VSMU / [email protected] Poetika Anima (2018 / Slovakia), d. Kriss Sagan, p. Diana Švihlová / FTF VSMU, sales: FTF VSMU / [email protected] Take me Please (2017, Hungary), d. Olivér Hegyi, p. József Fülöp / MOME Anim, sales: Hungarian National Film Fund / [email protected] Two for Two (2018, Croatia) d. Jelena Oroz, p. Vanja Andrijević / Bonobostudio, sales: Vanja Andrijević / [email protected] Unsafe Land / Zűrös környék (2017, Hungary), d. Marcell Szénási, p. József Fülöp / MOME Anim, sales: Hungarian National Film Fund / [email protected] Latvia P 11, 25 Poland P 11, 27 Czech Republic P 10, 11, 14 – 20 Moldova Slovakia P 11, 26 P 11, 29 – 31 Hungary Slovenia P 11, 22 – 24 P 11, 32 – 33 Romania Croatia P 11, 28 P 10, 12 – 14 Bosnia and Herzegovina P 10, 12 Macedonia P 11, 25 Discover all CEE countries at the Creative Europe MEDIA Stand (7.001) Georgia P 10, 21 Meet us all at one place: - over 50 film professionals, promising producers and talented animators, - 37 experienced studios and production companies, - from 12 different countries. Company name Country Contact person Email AEON Bosnia-Herzgovina Mladen Djukic [email protected] CROATIAN AUDIOVISUAL Croatia Marcella Jelic [email protected] CENTRE MINYA FILM AND ANIMATION Croatia Miljana Dragicevic [email protected] RECIRCLE Croatia Denis Valentic [email protected] RECIRCLE Croatia Vjekoslav Zivkovic [email protected] 13KA Czech Republic Anna Vasova [email protected] 13KA Czech Republic Karolina Davidova [email protected] 3BOHEMIANS Czech Republic Marek Tousek [email protected] ANIFILM Czech Republic Kamila Dohnalova [email protected] ANIMATION PEOPLE Czech Republic Michal Podhradsky [email protected] COFILM Czech Republic Jiri Sadek [email protected] COFILM Czech Republic Jindrich Trcka [email protected] CZECH FILM FUND - CZECH Czech Republic Marketa Santro- [email protected] FILM CENTER chova EALLIN Czech Republic Martin Hovorka [email protected] HAUSBOOT PRODUCTION Czech Republic Vladimir Lhotak [email protected] HAUSBOOT PRODUCTION Czech Republic Denisa Grimmova [email protected] KOUZELNA ANIMATION Czech Republic Libor Nemeskal [email protected] KOUZELNA ANIMATION Czech Republic Petr Babinec [email protected] MAUR FILM Czech Republic Martin Vandas [email protected] PROGRESSIVEFX Czech Republic Jiri Mika [email protected] PROGRESSIVEFX Czech Republic Jan Rybar [email protected] ROLLING PICTURES Czech Republic Martin Kotik [email protected] ROLLING PICTURES Czech Republic Martin Zahradnik [email protected] KVALI XXI Georgia Mariam Kandelaki [email protected] KVALI XXI Georgia Elene Murjikneli [email protected] CINEMON ENTERTAINMENT Hungary Reka Temple [email protected] CINEMON ENTERTAINMENT Hungary Krisztina Hollo [email protected] CUB ANIMATION Hungary Balint Gelley [email protected] IONART STUDIO Hungary Karoly Seiner [email protected] IONART STUDIO Hungary Csaba Bardos [email protected] MOHOLY-NAGY UNIVERSITY Hungary Gyorgyi Falvai [email protected] OF ART AND DESIGN BUDAPEST UMATIK Hungary Eva Konrad [email protected] ATOM ART Latvia Ieva Vaickovska [email protected] LYNX ANIMATION STUDIOS Macedonia Goce Cvetanovski [email protected] LYNX ANIMATION
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.
    [Show full text]
  • 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.
    [Show full text]
  • Jobs and Education
    Vol. 3 Issue 3 JuneJune1998 1998 J OBS AND E DUCATION ¥ Animation on the Internet ¥ Glenn VilppuÕs Life Drawing ¥ CanadaÕs Golden Age? ¥ Below the Radar WHO IS JARED? Plus: Jerry BeckÕs Essential Library, ASIFA and Festivals TABLE OF CONTENTS JUNE 1998 VOL.3 NO.3 4 Editor’s Notebook It’s the drawing stupid! 6 Letters: [email protected] 7 Dig This! 1001 Nights: An Animation Symphony EDUCATION & TRAINING 8 The Essential Animation Reference Library Animation historian Jerry Beck describes the ideal library of “essential” books on animation. 10 Whose Golden Age?: Canadian Animation In The 1990s Art vs. industry and the future of the independent filmmaker: Chris Robinson investigates this tricky bal- ance in the current Canadian animation climate. 15 Here’s A How de do Diary: March The first installment of Barry Purves’ production diary as he chronicles producing a series of animated shorts for Channel 4. An Animation World Magazine exclusive. 20 Survey: It Takes Three to Tango Through a series of pointed questions we take a look at the relationship between educators, industry representatives and students. School profiles are included. 1998 33 What’s In Your LunchBox? Kellie-Bea Rainey tests out Animation Toolworks’ Video LunchBox, an innovative frame-grabbing tool for animators, students, seven year-olds and potato farmers alike! INTERNETINTERNET ANIMATIONANIMATION 38 Who The Heck is Jared? Well, do you know? Wendy Jackson introduces us to this very funny little yellow fellow. 39 Below The Digital Radar Kit Laybourne muses about the evolution of independent animation and looks “below the radar” for the growth of new emerging domains of digital animation.
    [Show full text]
  • Giovanna Belico Cária Guimarães O Boneco – Personagem
    Giovanna Belico Cária Guimarães O Boneco – Personagem: Caracterização do personagem de animação Stop-motion Universidade Federal de Minas Gerais Escola de Belas Artes Mestrado em Artes 2012 1 Giovanna Belico Cária Guimarães O Boneco – Personagem: Caracterização do personagem de animação Stop-motion Dissertação apresentada ao Programa de Pós-Graduação em Artes da Escola de Belas Artes da Universidade Federal de Minas Gerais, como requisito parcial à obtenção do título de Mestre em Artes. Área de Concentração: Arte e Tecnologia da Imagem. Orientador: Maurício Silva Gino Belo Horizonte Escola de Belas Artes /UFMG 2012 2 Ficha catalográfica (modelo) Guimarães, Giovanna Belico Cária, 1975. O Boneco-Personagem: caracterização do personagem de animação stop-motion / Giovanna Belico Cária Guimarães. – 2012 102 f.: il. – Orientador: Maurício Silva Gino Dissertação apresentada ao Programa de Pós-Graduação em Artes da Escola de Belas Artes da Universidade Federal de Minas Gerais, como requisito parcial à obtenção do título de Mestre em Artes. 1. Boneco – Personagem - stop-motion - Arte – Cinema de Animação 2. Escultura - Teatro I. Gino, Maurício Silva, 1966 - III. Universidade Federal de Minas Gerais. Escola de Belas Artes IV. Título. CDD: CDU: código p/BIB/EBA 3 AGRADECIMENTOS Ao professor Francisco Marinho, com quem iniciei esse projeto. Ao professor Maurício Gino, pela orientação e apoio ao longo de todo o processo, sobretudo durante as (tantas) crises. Ao professor José Américo (in memorian) que contribuiu com suas sugestões e apontamentos. Aos professores Heitor Capuzzo e Ana Lúcia Andrade, que me contagiaram com o encanto pelo cinema e pelo stop-motion. A todo o apoio recebido da Escola de Belas Artes, da UFMG e da CAPES, fundamental para a conclusão desse projeto.
    [Show full text]
  • 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.
    [Show full text]
  • Persistence of Vision: the Value of Invention in Independent Art Animation
    Virginia Commonwealth University VCU Scholars Compass Kinetic Imaging Publications and Presentations Dept. of Kinetic Imaging 2006 Persistence of Vision: The alueV of Invention in Independent Art Animation Pamela Turner Virginia Commonwealth University, [email protected] Follow this and additional works at: http://scholarscompass.vcu.edu/kine_pubs Part of the Film and Media Studies Commons, Fine Arts Commons, and the Interdisciplinary Arts and Media Commons Copyright © The Author. Originally presented at Connectivity, The 10th ieB nnial Symposium on Arts and Technology at Connecticut College, March 31, 2006. Downloaded from http://scholarscompass.vcu.edu/kine_pubs/3 This Presentation is brought to you for free and open access by the Dept. of Kinetic Imaging at VCU Scholars Compass. It has been accepted for inclusion in Kinetic Imaging Publications and Presentations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Pamela Turner 2220 Newman Road, Richmond VA 23231 Virginia Commonwealth University – School of the Arts 804-222-1699 (home), 804-828-3757 (office) 804-828-1550 (fax) [email protected], www.people.vcu.edu/~ptturner/website Persistence of Vision: The Value of Invention in Independent Art Animation In the practice of art being postmodern has many advantages, the primary one being that the whole gamut of previous art and experience is available as influence and inspiration in a non-linear whole. Music and image can be formed through determined methods introduced and delightfully disseminated by John Cage. Medieval chants can weave their way through hip-hopped top hits or into sound compositions reverberating in an art gallery.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [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]
  • 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.
    [Show full text]
  • BMFF-2017-Program.Pdf
    Arch Insurance 2 FUELING THE INDEPENDENT SPIRIT FUELING th THETHE INDEPENDENT 36 ANNUAL BLACK MARIA SPIRITFILM FESTIVALFUELING THE INDEPENDENT SPIRIT FUELING THE INDEPENDENT2017 SPIRIT FUELING THE INDEPENDENT SPIRIT FUELING THE INDEPENDENT This program is copyright © 2017, The Thomas A. Edison Media Arts Consortium, Inc. SPIRIT 3 Lowenstein Sandler 4 The Black Maria Film Festival tour is made possible in part by: New Jersey State Council on the Arts Hudson County Division of Cultural & Heritage Affairs / Tourism Development New Jersey City University Microsoft Corporation* Adobe Systems, Inc. TechSoup Global Individual Donations * “Microsoft is pleased to support Thomas A. Edison Media Arts Consortium, Inc.” The Black Maria Film Festival is a project of the Thomas A. Edison Media Arts Consortium, an independent non-profit organization based at New Jersey City University. The festival was launched in 1981 with the endorsement of the Thomas Edison National Historical Park in West Orange, NJ. To become a sponsor of the Black Maria Film Festival, please contact the consortium’s office or make a donation via the festival website: www.blackmariafilmfestival.org. Thomas A. Edison Media Arts Consortium Black Maria Film Festival c/o Department of Media Arts – Fries Hall NJ City University 2039 Kennedy Blvd., Jersey City, NJ 07305 201.200.2043 [email protected] 5 IN COMMUNITY Withum SM WithumSmith+Brown, PC is proud to support the Black Maria Film Festival for celebrating and preserving the diversity, invention and vitality of the
    [Show full text]