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Some Critical Perspectives on Lotte Reiniger William Moritz [1996] 15
"Animation: Art and Industry" ed. by Maureen Furniss, Indiana University 2Some CriticalPerspectives on Lotte Reiniger SomeCritical Perspectives onLotte Reiniger William Moritz [1996] otte Reiniger was bornin Berlin her first independent animation film, Das on 2June 1899. As a child, she Ornament des verliebten Herzens (Ornament Ldeveloped a facility withcutting of the Loving Heart), in the fall of 1919. paper silhouette figures, which had On the basis of the success of thisfilm, she become a folk-art formamong German got commercial workwith Julius women. As a teenager, she decided to Pinschewer’s advertising filmagency, pursue a career as an actress, and enrolled including an exquisite “reverse” silhouette in Max Reinhardt’s Drama School. She film, Das Geheimnis der Marquise (The began to volunteer as an extra for stage Marquise’s Secret), in which the elegant performances and movie productions, and white figures of eighteenth-century during the long waits between scenes and nobility (urging you to use Nivea skin takes, she would cut silhouette portraitsof cream!) seem like cameo or Wedgwood the stars, which she could sell to help pay images. These advertising films helped her tuition. The great actor-director Paul fund four more animated shorts: Amor und Wegener noticed not only the quality of das standhafte Liebespaar (Cupid and The the silhouettesshe made, but also her Steadfast Lovers, which combined incredible dexterity in cutting: holding the silhouettes with a live actor) in 1920, Hans scissors nearly still in her right hand and Christian Andersen’s Der fliegende Koffer moving the paper deftly in swift gestures (The Flying Suitcase) and Der Stern von thatuncannily formulated a complex Bethlehem (The Star of Bethlehem) in profile. -
New Releases Watch Jul Series Highlights
SERIES HIGHLIGHTS THE DARK MUSICALS OF ERIC ROHMER’S BOB FOSSE SIX MORAL TALES From 1969-1979, the master choreographer Eric Rohmer made intellectual fi lms on the and dancer Bob Fosse directed three musical canvas of human experience. These are deeply dramas that eschewed the optimism of the felt and considered stories about the lives of Hollywood golden era musicals, fi lms that everyday people, which are captivating in their had deeply infl uenced him. With his own character’s introspection, passion, delusions, feature fi lm work, Fossae embraced a grittier mistakes and grace. His moral tales, a aesthetic, and explore the dark side of artistic collection of fi lms made over a decade between drive and the corrupting power of money the early 1960s and 1970s, elicits one of the and stardom. Fosse’s decidedly grim outlook, most essential human desires, to love and be paired with his brilliance as a director and loved. Bound in myriad other concerns, and choreographer, lent a strange beauty and ultimately, choices, the essential is never so mystery to his marvelous dark musicals. simple. Endlessly infl uential on the fi lmmakers austinfi lm.org austinfi 512.322.0145 78723 TX Austin, Street 51 1901 East This series includes SWEET CHARITY, This series includes SUZANNE’S CAREER, that followed him, Rohmer is a fi lmmaker to CABARET, and ALL THAT JAZZ. THE BAKERY GIRL OF MONCEAU, THE discover and return to over and over again. COLLECTIONEUSE, MY NIGHT AT MAUD’S, CLAIRE’S KNEE, and LOVE IN THE AFTERNOON. CINEMA SÉANCE ESSENTIAL CINEMA: Filmmakers have long recognized that cinema BETTE & JOAN is a doorway to the metaphysical, and that the Though they shared a profession and were immersive nature of the medium can bring us contemporaries, Bette Davis and Joan closer to the spiritual realm. -
Dilili À Paris · Générique Complet · 1/8
auteur graphiste réalisateur Dilili à Paris · Générique complet · 1/8 Toutes les personnes qui ont fait ce film ont bien pensé à leurs petites filles : Ysé, Yona, Violette, Vanny-Ella, Uma, Tiana-Lys, Thalia, Tessa, Sonia, Soline, Shelbia-Clémentine, Sabrina, Rose, Prunelle, Norah, Noémie, Ninon, Natalia, Nastasja, Moïra, Martine, Marine, Maia, Maëly, Luna, Lucie, Luce, Louise, Louisa, Llanka, Liv, Lillie, Lilas, Leya, Léone, Léna, Léanne, Léa, Laura-May, Julie, Josiane, Jeanne, Janyce, Janna, Jade, Jacqueline, Iris, Gisèle, Garance, Gabrielle, Fleur, Eva, Esther, Elsa, Elise, Elisabeth, Electra-Sol, Dora, Delphine, Clémence, Cléa, Christine, Chloé, Charlotte, Céline, Capucine, Brune, Bérénice, Azenor, Aurore, Anouk, Anne-Laure, Anna, Anaé, Ambre, Aline, Alice, Aditi, Adèle, Abigail et toutes les autres. Un film de Michel Ocelot Scénario, scénarimage, modèles, image, réalisation Produit par Christophe Rossignon et Philip Boëffard Musique Gabriel Yared Producteurs associés Ève François Machuel et Pierre Guyard Co-produit par Patrick Quinet, Philippe Sonrier et Rodolphe Chabrier Coproducteurs Stéphane Célérier et Valérie Garcia, Vincent Maraval et Brahim Chioua, Olivier Père et Rémy Burah, Sonja Ewers et Reik Möller, Arlette Zylberberg, Philippe Logie Productrice exécutive Ève François Machuel 1er assistant réalisation et directeur technique : Jean-Claude Charles 1er assistant réalisation, développement : Éric Serre Superviseur général : Malek Touzani Directeur de la post-production : Julien Azoulay Superviseur technique : Flavio Perez Supervision -
ANIMATION in MOROCCO: NEW GENERATIONS Whilst It Is Possible
ANIMATION IN MOROCCO: NEW GENERATIONS Whilst it is possible to catch a glimpse of animation in the Moroccan film Ali Zaoua: Prince of the Streets (2000) by Nabil Ayouch, the popularity that this film garnered with international audiences is not true for most of contemporary Moroccan animation. Where there has been attention and discussion directed at Moroccan film (Orlando, 2013, 2011, Carter, 2009, Dwyer, 2007, Hennebelle, 1976), it was hard to come by evidence of discourses in academic literature on Moroccan animation.1 Filmmaking in Morocco occurred as far back as the early 1900’s, with the establishment of the Centre Cinematographique Marocain in 1944 and the production of two Moroccan post-colonial feature-length films made in 1968 (Carter, 2009). This history has contributed to the visibility and support that Moroccan cinema has garnered on local and international platforms. Nevertheless the same was not visible in the case of animation, resulting here in a sporadic collection of accounts that are by no means a comprehensive narrative of the existence and development of this form in Morocco. As other accounts of the animated form have demonstrated (Wells, 1997, Pilling, 1998), this peripheral status is not unique to Moroccan animation. The outlying position of animation in relation to film, for example, has resulted in the tardy establishment of the field of animation studies within discourses on the moving image in Europe and America. However, in the case of animations produced outside of these geographies (Bendazzi, 1994) the condition is compounded further and animation studies scholars can only offer piecemeal narratives and brief glimpses of animations from further afield. -
Editor Recommended Texts Here Are Some Ideas for Texts and Films That
Editor recommended texts Here are some ideas for texts and films that our language editors have recommended. These are just suggestions though so if there is a particular author or film you would rather look at, you may do so! English translations can be found in libraries and online bookstores but we encourage giving the texts in their original versions a go too - especially for 6th form submissions! Many of the films can be found online (Amazon, Mubi, Youtube, Netflix) or can be bought on DVD. FRENCH o TEXTS: Monsieur Ibrahim et les fleurs du coran, Eric Schmitt Stupeur et tremblements, Amélie Nothomb Le Petit Prince, Antoine de Saint Exupéry Boule de Suif, Guy de Maupassant Oran, langue morte Assia Djebar (collection of short stories) Le Silence de la mer, Vercors (Jean Bruller) (A-level) Candide, Voltaire (A-Level) o FILMS: Entre les murs, Laurent Cantet (15) https://www.imdb.com/title/tt1068646/ Portrait de la jeune fille en feu, Céline Sciamma (15) https://www.imdb.com/title/tt8613070/ Stupeur et tremblements, Alain Corneau (12A) https://www.imdb.com/title/tt0318725/ Les misérables (2019), Ladj Ly (15) https://www.imdb.com/title/tt10199590/?ref_=tt_pg Amélie, Jean-Pierre Jeunet (15) https://www.imdb.com/title/tt0211915/?ref_=tt_pg Populaire, Régis Roinsard (12A) https://www.imdb.com/title/tt2070776/ Les Choristes, Christophe Barratier (12A) https://www.imdb.com/title/tt0372824/?ref_=fn_al_tt_1 Kirikou et les bêtes sauvages, Michel Ocelot, Bénédicte Galup (U) https://www.imdb.com/title/tt0455142/?ref_=fn_al_tt_1 -
Azur Et Asmar
Cahier de notes sur ... Azur et Asmar Michel Ocelot Ce « Cahier de notes sur… » est édité par l’association Les enfants de cinéma dans le cadre d’École et cinéma, dispositif d’éducation au cinéma soutenu par le ministère de la Culture et de la Communication (Centre national du cinéma et de l’image animée), le ministère de l’Éducation nationale, de l’Enseignement supérieur et de la Recherche (Direction générale de l’enseignement scolaire) et de Réseau Canopé (réseau de création et d’accompagnement pédagogiques). Il est possible de consulter des éléments complémentaires sur la plateforme Nanouk, outil numérique pédagogique dédié au travail sur le cinéma dans les classes de l’école primaire. Nanouk regroupe des documents pédagogiques et des extraits de films du catalogue « École et cinéma ». Elle offre aux enseignants et à leurs élèves la possibilité de travailler à partir de ces extraits vidéo. Nanouk présente plusieurs enjeux pédagogiques : faciliter une approche pédagogique du cinéma grâce à la mise en réseau d’extraits de films vus en salle de cinéma, développer la sensibilité artistique des enfants et poser les jalons d’une culture cinématographique, impulser une démarche pédagogique qui privilégie l’approche sensible et personnelle du spectateur tout en travaillant les notions de cinéma. Pour s’inscrire : www.nanouk-ec.com AZUR ET ASMAR-OK AM:LEMONDEVIVANT - 3 24/08/09 18:26 Page 1 Azur et Asmar Michel Ocelot France, 2006, couleur Sommaire Générique, résumé, note sur l’auteur ...................... 2 Autour du film ..............................................................3 Le point de vue de Bernard Genin : Avoir le temps de faire court ............................................6 Déroulant .....................................................................16 Analyse d'une séquence ......................................... -
Reiniger Research Proposal 10-29-17
RESURRECTING THE STUDY OF A FORGOTTEN ANIMATOR: A REOPENING OF THE CASE FOR LOTTE REINIGER Emily Rawson Loyola Marymount University Honors Program Abstract This proposal requests funding to access and view a series of historical German films and to purchase materials for the recreation of key sequences of the animated films of Lotte Reiniger, a historical German animator. From this work, two animated films will be made: a short narrative piece and a longer informational film to investigate and interpret Reiniger’s medium and artistic choices in the context of German expressionism. The goal of this work is to recognize Lotte Reiniger’s films as artistic achievements worthy of including Reiniger in academic discussions about contemporary innovative German filmmakers – discussions from which she is currently neglected because her work has been branded as impressive feats of craft rather than film art. Rawson !1 Introduction The profession of filmmaking splits itself between intersectional focuses on developing technology, earning revenue, pursuing art, and reflecting or even influencing the societies in which they are made.1 Recognizing these four distinct motives in making films, film historians can work to understand films both as accomplishments of innovation in the technical craft and as open texts better understood within the contexts of their crafting: the former interpretation requiring that historians master knowledge of the technology available and previous uses of cinematic techniques, and the latter requiring that historians acquaint -
Tales of the Night (Les Contes De La Nuit)
Tales of the Night (Les contes de la nuit) Directed by: Michel Ocelot Certificate: PG (contains mild threat and natural nudity in a tribal setting) Running time: 84 mins Country: France Release Date: 25th May 2012 Suitable for: The activities in these study notes address aspects of the curriculum for literacy, art and MFL for pupils between ages 7–11. www.filmeducation.org 1 ©Film Education 2012. Film Education is not responsible for the content of external sites SyNopSiS Tales of the Night is a collection of short stories. The film features six different tales, each told in such diverse settings as Tibet, medieval Europe, an Aztec kingdom and the African plains. They are stories of enchanted lands, princes and princesses, dragons, werewolves, sorcerers and giant bees! GeNre Celebrated animator Michel Ocelot made such unique animated classics as Kirikou and the Sorceress and Azur & Asmar: The Princes’ Quest. With this collection of fables and fairy tales he returns to the style of his early film Princes and Princesses. Black silhouettes are set against backgrounds full of vibrant colour and intricate detail, creating the feeling of a shadow puppet theatre. Before SeeiNG The fiLm NarraTive Tales of the Night is in French with English subtitles. Revise some basic French with your class. Do they know the numbers to ten? Colours? Learn these French words for animals and see how many they can spot/hear during the film. un loup – a wolf un serpent – a snake un hibou – an owl un lézard – a lizard une abeille – a bee un papillon – a butterfly un ours – a bear un poisson – a fish une chauve-souris – a bat un oiseau – a bird un cheval – a horse Tales of the Night is a collection of shorter stories that could be described as fairy tales or fables. -
Michel Ocelot Auteur, Réalisateur, Animateur Et Dessinateur
LES ARMATEURS présente Un film de Michel Ocelot DISTRIBUTION PRESSE STUDIOCANAL ROBERT SCHLOCKOFF ET JESSICA BERGSTEIN COLLAY 1, place du Spectacle 9, rue du Midi Durée : 1h28 92130 Issy-les-Moulineaux 92200 Neuilly-sur-Seine Tél. : 01 71 35 08 85 Tél. : 01 47 38 14 02 Fax : 01 71 35 11 88 [email protected] SORTIE LE 3 OCTOBRE 2012 Photos et dossier de presse téléchargeables sur www.studiocanal.com SYNOPSISSYNOPSIS Le grand-père nous accueille dans sa grotte bleue, pour de nouvelles confidences. Il restait encore de beaux souvenirs de l’enfance de Kirikou à évoquer : les moments où il a aidé les hommes et les femmes de son village et d’ailleurs… Il nous raconte alors comment Kirikou, grâce à sa bravoure et son intelligence, est venu au secours de la femme forte, dont le toit de la case avait été détruit par Karaba. Il nous apprend par quelle astuce le petit héros a retrouvé le vieux grincheux, qui s’était égaré dans la savane, puis comment une griotte menacée par la sorcière a finalement pu transmettre son savoir aux habitants du village. On découvre aussi le secret d’un mystérieux monstre bleu, et enfin, grâce à une flûte liée à la famille de notre héros petit et vaillant, le pouvoir magique de la musique. ENTRETIEN AVEC MICHEL OCELOT RÉALISATEUR KIRIKOU ET LES HOMMES ET LES FEMMES est le troisième film j’avais fait la description exacte de sa tribu au bord rendez-vous avec ce petit personnage qui a remporté de l’Amazone. J’ai ainsi découvert que j’avais donné de un grand succès dans le monde entier. -
Animating Silhouettes
BALL STATE UNIVERSITY Animating Silhouettes Honors College Senior Project Leslie West Fall 2007 ~f~ / /-Ie1f "07 , I ., : ,.' Abstract: .~ .. "~', J;tP'l'>' 1"'~"" \ This paper is a~~~fd of my experiences creating an animated movie of silhouettes, based upon the movies of Lotte Reiniger. It includes information about the artist that inspired this project, my processes, and related art forms. 2 ACKNOWLEDGMENTS I would like to thank my advisor, Dr. Michael Prater, for his guidance throughout this project. All of the constructive criticism and suggestions were a very big help throughout the completion of this project. Also, I'd like to say a big thank you for the last few years of support as an academic advisor and professor. I'd also like to extend my thanks to Liz Boehm, Chris Penzenik, and Lauren West, for helping with this paper. I really appreciate the time you spent reviewing and editing with me. Your suggestions made this paper complete. Finally, I'd like to say a thank you again to Lauren West, for being my gopher while I studied abroad. This project was such a big process, and I literally couldn't have done this without you. 3 TABLE OF CONTENTS INSPIRATION: LOTTE REINIGER... ..................... ............ ABOUT THE ARTIST. HER FEA TURE FILM AND HER PROCESS ....... ................ , ............... OTHER SILHOUETTE ARTiSTS.......... .................. ..... ....... ... ......... .. ..... WAYANG-KULlT ........................................................................... HANS CHRISTIAN ANDERSEN ....................................... -
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Lotte Reiniger Lived: June 2, 1899 - June 19, 1981 Worked as: animator, assistant director, co-director, director, film actress, illustrator, screenwriter, special effects Worked In: Canada, Germany, Italy, United Kingdom: England by Frances Guerin, Anke Mebold Lotte Reiniger made over sixty films, of which eleven are considered lost and fifty to have survived. Of the surviving films for which she had full artistic responsibility, eleven were created in the silent period if the three-part Doktor Dolittle (1927-1928) is considered a single film. Reiniger is known to have worked on—or contributed silhouette sequences to—at least another seven films in the silent era, and a further nine in the sound era. Additionally, there is evidence of her involvement in a number of film projects that remained at conceptual or pre-production stages. Reiniger is best known for her pioneering silhouette films, in which paper and cardboard cut-out figures, weighted with lead, and hinged at the joints—the more complex the characters’ narrative role, the larger their range of movements, and therefore, the more hinges for the body—were hand-manipulated from frame to frame and shot via stop motion photography. The figures were placed on an animation table and usually lit from below. In some of her later sound films the figures were lit both from above and below, depending on the desired visual effect. Framed with elaborate backgrounds made from varying layers of translucent paper or colorful acetate foils for color films, Reiniger’s characters were created and animated with exceptional skill and precision. Reiniger’s early films ranged in length from brief shorts of less than 300 feet to Die Abenteuer des Prinzen Achmed/The Adventures of Prince Achmed (1923-1926), a film that is arguably the first full-length animated feature and is thus considered to be among the milestones of cinema history. -
Michel Ocelot SOMMAIRE SOMMAIRE SOMMAIRE
ET CINEMA 68 « Mon secret, c’est que je ne fais jamais de films pour les enfants, car les enfants n’ont rien à faire de films qui sont pensés uniquement pour eux !... » Michel Ocelot SOMMAIRE SOMMAIRE SOMMAIRE Autour du film A. Le réalisateur : Michel Ocelot B. Filmographie C. Le film 1. Fiche technique 2. Synopsis 3. Analyse 4. Interview Les arts du langage A. Comprendre le film : le travail préparatoire à l’oral 1. Le titre, les affiches 2. Après la projection B. Découvrir l’univers du film 1. L’histoire 2. Les personnages 3. Les lieux 4. L’Afrique dans ses diversités 5. L’eau en Afrique 6. Le schéma narratif 7. Le conte africain 8. Production d’écrits 9. Mises en réseau Histoire des arts et pratiques artistiques A. Arts du visuel 1. Citations « métissages » 2. Des artistes : Daniel Spoerri et Michel Nedjar 3. Fétiches à partir d’objets 4. Pour en savoir plus 5. Le cahier personnel d’Histoire des Arts B. Arts du son 1. Youssou N’dour le compositeur 2. Les instruments africains traditionnels 3. Pratiques artistiques C. 7ème art : Les sorcières au cinéma Ressources A. Le livret en ligne B. Les ressources des «Enfants de cinéma» C. Les fiches-élèves Notes autour du film AUTOUR DU FILM AUTOUR DU FILM A. Le réalisateur : Michel Ocelot Né le 27 octobre 1943 sur la côte d’azur, Michel Ocelot, fils d’enseignants, a vécu son enfance en Guinée, et son adolescence en Anjou. Après des études aux Beaux Arts de Rouen, il intègre les Arts Décoratifs à Paris, fait un passage par le California Institute of the Arts et finalement s’initie au cinéma d’animation en réalisant des courts-métrages pendant ses vacances, en compagnie d’un groupe d’amis qui utilisent chacun des techniques différentes (dessin animé, marionnettes, etc..).