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Animation: A World History Volume III: Contemporary Times Giannalberto Bendazzi

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Publication details https://www.routledgehandbooks.com/doi/10.1201/9781315720746-3 Giannalberto Bendazzi Published online on: 17 Nov 2015

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The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 There were three nominations ayear until 1991,andfive each year after 1992. the Oscarcategory, 1989 to1996itwasdominated by shortfilmsthat vied for cial activities, includingadvertising. itsprograms were financed by itscommer funding. Allof Channel 4–thoughpublic –didn’t receive any public 1982.Unlikethepublic utilitythat wastheBBC, ber BBC andITV, anditstartedbroadcasting on2Novem- Parliament. wastobeanalternative to Itspurpose Act of 1990s onwards without talkingaboutChannel4. Tebl fChannel4’s commissioned animation was bulk‘The of (only rarely were works completely financed 4). by Channel viewers. appealing toawiderangeof anddifficultcertainlynot readily often hermetic produced andfinanced experimental animation that was ally devoted toallthat iscommercial andprofit-making– was extraordinary that a television channel – an entity usu- 5 4 3 2 1 It isnotpossible todiscussBritishanimation Years Britain: TheWonderful Great Channel Four Television apublic entity, Corporation, aftertheIBA’s abolition. Channel4alsoowns theWelsh public channel S4C. . In 1995, the award went to Nick ParkBig Story David Stoten for The for. In 1996, Peter A Close Shave Lord was nominated for award went toAlisonSnowden andDavid Finefor Bob’s Birthday andnominations went toEricaRussell for Triangle andTimWatts and , BobGodfrey Village tions went andKevin toMark Bakerfor for The SmallTalk Baldwin Palmer, andStephen for.In1994,the Blindscape Sandman, Peter Lord Purves for for Adam,andBarry Screen Play.In1993,theaward went toNickPark Wrong for The Trousers andnomina- Nick Park for AGrand DayOut.In1991,theaward went toDanielGreaves for Manipulation. In1992,Paul wasnominated for Berry The ‘Animation andChannel4’(1987) by Paul Madden,animation consultantat Channel4. We thankAndrew Osmondfor hisimportant contribution. By MaddalenaRamolini. . In1990,theaward HillFarm In 1989,Mark went toNickPark Bakerwasnominated for The forCreature Comforts andanomination to rgnly hne a usdayntoko teIdpnetBodatn uhrt IA.Ltri eaetepoet f BroadcastingOriginally, theIndependent Authority (IBA). Later itbecametheproperty of network Channel4wasasubsidiary of rts nmto ekda h n fthe1980s. From British animation peakedat theendof Channel 4wascreated in1981asapublic utility by an h eutwsaptoaesse fcoproductions resultThe wasapatronage systemof 1 4 mostlycommissionedby Channel4.It 3 2 from the -

were broadcast intwo different slots:afive-minute one at high audienceshares. To achieve this, animation shorts short productions). channel’s The animation hadtogain shorts (in addition, animation is best suited to creation of program. Animation wascostlytomake, which ledtothe submitted inadifferent way tothe‘classic’half-hourTV lems. From theoutset,animation product hadtobe the channel’s artisticfreedom. a public service. Privatization would have riskedreducing changed hismindanddecidedtomaintainChannel4as thechannel. Aftersomemonths, he ble privatization of executive, forwarded aproposalnel 4’s for apossi- chief to AlisonDeVere’s Black Dog. The theQuay brothers,, toMurakami’s theWindBlows When of Aardman Animations) tothose Peter Lord (thefoundersof David Sproxton and the 1980s, from the works of films of someremarkable 4 wasinstrumentalintheproduction of adults was scarcely seen on British television.’ different from othertelevision channels. Animation for tobe trying That policywasformulated onthebasisof intended for adult audiences, andquitedeliberately so. Channel 4faced,andsolved, many different prob- the1990s, Michael Grade, Chan- At the beginning of EUROPE 3 5 Channel Wat’s Pig. Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 University. three years anddesignat studying Middlesex graphics long art class at Goldsmiths College in London then spent drawing becamehermainpassion.Sheattended ayear was four, shewon adrawing competition;from thenon, but soonmoved toLondonwithherfamily. Whenshe Britishanimation. is Joanna of Quinn,acornerstone thevery besttalentsthat Channel4ever produced One of Joanna Quinn animators who startedtheircareersthrough Channel 4. themostfamousandtalented Below we considersomeof 4 Animation Channel technique. captivating, unusual, andwell made, mixingartandfilm just animation fans. Itwanted to screen films that were mental films that could attract awideaudience andnot funds. to lackof produced thebestones. Museumclosedin1999due The in London(MOMI)todevelop aproject andthechannel theMoving Image at theMuseumof month internship Every year, Channel4gave four young peopleathree- Young animatorscan’t live off projects: they needapatron. in Great Britaintodaytheirwork began withChannel4. interest innewtalents. Mostanimatorslivingandworking pose, itcoinedthenameFour-Mations, apunindicating its mote newtalents, bothBritishandforeign. For thispur styles inafewhours. tival onTV, different cultures and introducing dozens of everlasting animation fes- ideawastocreateThe asortof works itmadewere never commonplaceoruninteresting. theworld. Channel4’s choices were good:the the rest of Slavic countriesasCzechoslovakia, virtuallyunknown in works; italsopresented animation productions from such programming tothemandtheir devoting strandsof choices. Itpromoted andcelebrated women animators, by very fewpeople. toshow productionsgrams that otherwisewould beseen established pro- schedule capitalized onthecoattails of slot at 9:45p.m., after the popularseries 7:55 p.m.,, andanotherfifteen-minute afterChannel4News Quinn was born on 4 February 1962 in Birmingham in Birmingham on4February 1962 Quinn wasborn Another challenge for Channel4wastomakeexperi- Another mission for the channel was to find and pro- At thistime, Channel4Animation madeparticular Dispatches . This - - rhythm. artwork withastrong visual detailed hand-drawn styleof She alsodeveloped an instantly recognizable, highly women and their whims, but she does so with affection. efforts while males are vain timewasters. Quinn teases strong andresolute; shegetswhat shewantsthrough her pounds. However, through thefilms, proves Beryl herself sensual thaninsecure, who isalwaysgain fighting notto features an overweight, Beryl: middle-agedwoman, less films (Girls’ NightOut[1987]andBodyBeautiful[1991])she ence andrelationships between two genders. Inherfirst She usedcomedy andirony toexplore feminineexperi- roses andtheirweaknesses, which canbecome strengths. rent-paying commissionsandmore work. personal tion companies, Productions between Beryl alternated hercollegeteachers. Likemostanima- ously beenoneof with thewriterandproducer LesMills, who hadprevi- and Animation Workshop. Productions Beryl Sheformed the Chapter Film to Cardiff, attracted by the activities of from sameyear, Channel4andS4C.The Quinnmoved go toamalestrip-teasejoint.Itwasmadewithfunding female Welsh workers factory who Out about a group of Figure 3.1 through theentire nation, from ScotlandtoLondon. Union Jack. dog plays, The jumps, and makes a mess resented by afat bulldog that wearsaT-shirt bearingthe from herprevious themes. Itisabout Great Britain,rep- lunch before resuming theirposes. have aspotof (1992) imaginesthat Toulouse Lautrec’s modelsdecide to matches with the image imposed by film media. The and one’s physicality, oneself is to accept which never toachievetactics necessary difficult it.The path, however, beautiful andhealthy body andshedetailstheeffort theutmostimportancetoday toown a about how itis of Especially in Body Beautiful (1991) shetalks – with irony – Joanna Quinnwantedtorepresent women, theirneu- She made an excellent debut in 1987 with In 1993Joanna QuinnmadeBritannia,moving away Great Britain: The WonderfulChapter 3:Great Britain: Years

Joanna Quinn,BodyBeautiful , 1991. Girls’ Night

Elles 69

Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 70 6 She decidestobeginaregime, but allday shecan’t resist and realizes weight. she has gained who weighs herself latterIssues (1988).The isaboutanoverweight woman (1988),andFatty Fringe (1988),WishfulThinking Alternative the seriesWoman mostsuccessfulare (1988).The InView commissioned by Channel4tomakesomeshortfilmsin ArtsincentralLondon. nic andthenat St Martin’s School of childhood. Shestudied finearts, firstatNewcastle Polytech - tors, herpassion for drawing andmoving pictures startedin woman’sthe modern life. Likemany otherbudding anima- same generation asJoanna Quinnandshares herinterest in Candy Guard (b. Ealing, London, UK, 1961) belongs to the Candy Guard cuat fan oldfolks’ homeinacreepy Londonandwas produced by Channel 4. occupants of the characters are often grotesque and caricatured. CrapstonVillas (1995)isananimated soapoperawithclay animation. Itfocuses onthe BobandCarol, puppetanimation, 3D, two ordinary people, though andlive-action. Ittoldthelove of the seriesNights,amixof story and , aboutrivalryandcompetitionbetween women, 1970sfeminism.SubsequentlyshemadeCarol andMary satire aboutthemain aspectsof ial ecigtemliutrlLno ftoday.finally reaching the multicultural Londonof split from Rome,the hypocrisy, thegreed, andPuritanism– India, andthedead,colonizationtraces thewars of the world. Through the bulldog, Quinn conquering half filmportraysThe theBritishsureness that comesfrom nothing –well, almost nothing. women are suggestive, irreverent, andjoyful, ashamed of resultNight Out).The istenderandfunny. Joanna Quinn’s give free rein totheirdrives andsexual desires (asinGirls’ ageingwomen who theworld of voice tothewildsideof her friend’s wedding, withhilariousresults. Quinngives She triestoimitate famousfilmdirectors while filming becomes obsessedby it,usingittomakeamovie diary. onnew adventures.again, Shebuys adigital camera and to understand. uncertainty. Women are incoherent creatures, impossible anditsopposite:husbandslovers,rything securityand ferent opinions. final answer The is that women want eve- ‘What dowomen wantabove all?’andalways gettingdif- ment, hemust wandertheworld askingthequestion: a knightwho rapesandkillsamaiden.To avoid punish- Chaucer’s Tales Canterbury , about ter isbasedonpartof Bath’s Tale] TalesCanterbury lat (1998).The - Wife of [The h oc fDollyPond isprovided by actress voice Sarah Ann Kennedy.The of Sheisalsoananimator. (1985),wasa film,AsItHappens Herfirst

She began toexperimentShe began withlive-action before being Quinn’s next films were Famous Fred (1996) The and In On theRail,abouttwo girls inSpain.SarahKennedy’s works explore theborder between desire andreality. In1993,Kennedy made Great Britain: The W Chapter 3:Great Britain: Dreams andDesires: Family Ties(2006),we meet Beryl onderful onderful Years

series commissionedby Channel4aboutDollyPond, wider successin1996thankstoPond Life (1996–2000),a drawings andtraditional 2Danimation. representation.rather thanon their graphic Sheusesflat Guard focuses andthoughts, onthecharacters’ depth expectations. pictures The are simple and compelling; socialcustomsand apparently free but actuallyslaves of thinly-veiledThe complaint is that today’s women are andextreme. thorny design andahumourthat canturn woman facesdailywithastylizedevery andsnappy normal woman whoher. embarrasses interviewisconductedbyist. The abeautifulandsensual an ordinaryandinsecure woman lookingfor ajobastyp- Wrongme? (1990),andThe Type latter (1990).The features youth programme by about S4C:Moanologue(1990),What series talksaboutwomen’s weaknesses andsmallneuroses. nuts aregainedmore fruits!’),andfindsshe has The weight. it’s enough),eats peanut butter (‘becauseat bottom,pea- nibbling food. Sheexercises for onlyfive minutes (because also won bestseriesprizes at AnnecyandOttawa. director at theLosAngelesAnimation Celebration and heads. characters’ afewlinesradiating from thetopof consists of andimmediacy.increasing thecharm Hair, for instance, and linear, withoutfrills(alittle likeCavandoli’s LaLinea), style is simple are compelling and sharp. graphic The are perfectlyrepresented inhercharacter. confused but she loves having fun. Tiny female weaknesses into adventures that leave herbreathless; she’s goofyand when toloseweight. trying Herfemalefriendsdragher physical exercise –thoughsometimessheforces herself, boyfriend. Pond smokes, drinks, eats junk food, and hates woman,single but in fact she has a submissive idler as a first works.The serieswasanamazingsuccess. her higher, Guardthespontaneityandimmediacyof kept production wasbigandcomplex, andthestakesmuch andneurotic woman.independent single Even thoughthe After many works, successfulindependent Guard had Guard dealswiththefrustrations anddifficultiesthat Two years later, Candy Guard madethree shortsfor a All theepisodes, never more than10–15minutes long, Dolly Pond isaboutthirtyyears old.Outwardly she’s a Pond Life won for bestprimetimeTVseriesand 6 an Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 and motions, intunewiththemusic. and flexible lines, symbolic and sensual bodies, colours African ballets. Russell drew thedancethrough stylized Song(1988),about directing/animation debut withFeet of established her own studio, Eyeworks, andmadehersolo Gerald Scarfe, Paul Vester, andRocky she Morton.Then animatorsandanimation companies, including ber of veteran Disney animator ArtBabbitt. valuablepaint-and-tracer andgained experience assisting 1970s, shejoinedRichard Williams’ animation studioasa African music anddance. Moving toLondonintheearly finding inspiration inlocal folk traditionsandespeciallyin South Africa in 1953,andshe spent herchildhood there, to produce itimmediately. Russell’s parents to migrated mator, EricaRussell (b. NewZealand,1951),anddecided of In 1988LeeStork, aChannel4producer, saw thepilot Erica Russell etr ae ntelf fChrist and released in , a featureMaker based on the life of mated shortfilms for children. series (1992/1994),adaptingShakespeare’s plays asani - town Pontypandy. a brave fireman, andhisfellow firefightersinthe Welsh Sam, series for young children tellingtheadventures of series: 2008–2009)wasbroadcast onChannel4.It’s a third series:1985–1994;fourth series:2003–2005;fifth waswrittenbystory Robin Lyons. charactersers. were The drawn by David the Edwards; original seriesaboutateddy bearwho receives- superpow Tales. and afilmwriter, Canterbury healso won anEmmy for The S4C, received aBAFTA for hiscreative career. A producer theanimationat department Chris Grace, thedirector of Chris Grace is inspired by street culture, withurbandanceandgraffiti. identity,cation, andviolence. fragmentation of work The culture: dislo- postmodern Soma, dealingwiththeeffectsof classical drawing topure abstraction.In2001Russell made music andartstyles, rangingfrom makes powerful useof paint, colourpencil,crayons, anddance. Inthisfilm, Russell amature woman, expressed through mixed withthat of In Through the1970sand1980ssheworked for anum- The Miracle The Grace alsocontributed totheproduction of For S4C,BBCWales madethe AnimatedShakespeare Made withclay puppets, Firemansecond,and Sam(first, In 1992,Graceproduced Superted withMikeYoung, an eto Song,ashortfilmmade by aNewZealandani - Feet of (94,tepsino two young loversTriangle is (1994),thepassionof erworld inEnglish. filmwascalledOth- . The Mabinogion collectionThe story themedieval Welsh nogi (2002),anadultadaptation of World (2000)andthelive-action/animated feature YMabi- the credits include the seriesBookBox: Animated Tales of Joanna Quinn(seeabove). Hisotherexecutive producer Bath’s Tale’included a‘Wife segmentanimated by of Tales Canterbury The (1998),which evision production of called Fastflex, which is ductileandtough. very Julie Christie. puppetsare The madewithaspecialresin voiced by such famousBritishactors asRalphFiennesand thewomen inthePassion. characters are The viewpoint of Jesus, simplytoldwithoutspecialeffects, from the cles of and mixed puppetanimation with CGI.Itshows themira- 2000. Itwasdirected by Derek Hayes andStanislav Sokolov Figure 3.2 puter graphics, pictures, live-action, andcollages. The andnewrealitiesstrange games intheirboy owner’s room. actinfunnybears andeccentricways, inventing nonstop with LiisaHelminenfor Finland’s Lumifilm. Two teddy Turpotion children’s (1996)inpartnership seriesUrpo & chodrama producing short films for Channel 4 such asthe family psy- don, directing and animating commercials for Finlandand Animation. &Bachelor minen was invited to the UK to join Halas Animation1972 Zagreb Festival. following The year, Rim- ble Bath. Itreceived anaward for bestcommercial at the animatedShe madeherfirst commercial for Vivante Bub- designer. Artsasagraphic Applied Helsinki Collegeof fromconnected withChannel4.In1968,shegraduated Rimminen(b.Marjut Finland,1944)isanotheranimator Marjut Rimminen Grace wasalsoexecutive producer onatwo-part tel- Rimminen’s stylemixes puppets, handdrawing, com- From 1974,Rimminenworked inLon- independently Great Britain: The WonderfulChapter 3:Great Britain: Years

Learned by Heart , 2007. Rimminen,Learned Marjut The Stain(1991).Shecreated thepuppetanima- The

71 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 72 don. Many new talentsemerged from thesefertilegrounds. Art, and Goldsmiths College in Lon- the Royal College of Abertay DundeeinScotland, included theUniversity of animation, graphics,These schools andfineartcourses. United Kingdom,andmany universities established new more andmore peoplewere studying animation inthe McQueen, which Denishadseen onacatwalk. Britishfashiondesigner Alexander by somecreations of and live-action. underworld The characters were inspired pool leads to an amazing adventure. film uses CGI The apparently coldandunfriendly. Butatriptoswimming everything seemsweird andalienthepeopleare Tomoko, aJapanese girl, arrives to stay inLondon where and scannedhand-drawn images. ever filmmixes The computer-generated sleep? images and many fishheads chopped off,thegirl dofish wonders: Naoko’s insomnia, fish inabowl. After several scenesof a young sushi chef, chops fish all day a gold- and also keeps theJapaneselearned approach tomakingcartoons. four-month exchange visitat Kyoto University, where she Art.Shehada MA inanimation at theRoyal Collegeof design at ENSAD inParis thenmoved toLondonfor an Shestudiedgraphic tor GaëlleDenis(b. 27May 1975). Another Channel4discovery wastheFrench anima- Gaëlle Denis and manipulated. mation, period pictures, andarchive material, combined mysteries that live in people for years. film mixes The ani- minen discovers small hidden stories, unspoken things, exploring thepost-World War IIperiodinFinland.Rim- AIDS commissionedby UNICEF. 2001 shemadeRedRibbon, acontribution toafilmabout in She wasinterested insocialsubjectswiderterms: and subjective storiesinwhich women talkaboutabortion. and manipulated images, stilldisturbher. herchildhood, represented by puppets traumasof The the end,woman shutsherinabottleandgoesaway. woman’s consciousness, askingfor care andattention. At girl creepsintoayoung ghostpersistently mation. A little (1996),alive-action- shortwithinsertedpuppetani Returns probing thepsyche. Probably herbestfilmisManyHappy tones are dark andhidden,mysterious anddisturbing,

And they allanimated inBritain.Inthe1990s–2000s, City Paradise (2004)wasmadefor Passion Pictures. (2002).Naoko, Sleep filmwasFishNever Her graduation Learned by Heart,afive-part film In 2007shemadeLearned In 1998,RimminenmadeMixedFeelings, four personal Great Britain: The W Chapter 3:Great Britain: onderful onderful Years margins, drunkanddoped,yet real andfree. describes children’s fascination about a man on society’s strong, dreamlike images with Bukowski’s words. film The made and sexism were toomuch for sensitive viewers. Hefinally the basis for a film, but he realized Bukowski’s violence RCA, Hodgsonsearched for therightpoemtoprovide instance, thewriterCharles Bukowski. Whilestillat the inspired by artistsidentifyingwiththeworking class–for spontaneity. Heisfascinated by American culture and fused; theatmosphere issadanddisturbing. people as x-ray skeletons. become con- Images and colours homeless peopleandrubbish.manperceives The other angry. They maketheviewer reflect, between imagesof mixwithscatteredours words writtenonthescreen, some between citytraffic andurbandesolation. Lightpastelcol- My Way (1997)isaboutamanwho walksinthesuburbs, Hodgson Films as an outlet for work. his personal Feeling Shorts andadirector at Speedy Films. In2003hesetup Clock. Doomsday The animated shortaboutnuclear disarmament, left college(madewithcodirector SusanYoung) wasan ing in 1985 in film and TV. commission after he His first - ArtinLondon,graduat attended theRoyal Collegeof pool Polytechnic andreceived aBA design. He ingraphic Jonathan Hodgson(b. Oxford, 1960)studied at Liver Jonathan Hodgson destroy every certainty, every superstructure, andtogain not interested inaesthetics:what’s for necessary himisto cruel andtroublesome andreach viewersunfiltered. He’s erately unpleasant.Heaimsfor immediacy;hisimagesare Hisdrawings areAugust 1948. stylized, anddelib- gaunt, inWallasey,Phil Mulloy wasborn Merseyside, on29 Phil Mulloy world withtheforest’s intersect purity. destroyed. themodern Yet theillnessanddegeneration of filmshiftstothepresentThe day, when the forest isalmost theearth. forest longago, mencontendfor domainof figures, andHodgson’s typicallyconfusedhues. Inawild experiences. Hodgson’s styleisintunewiththesepeoplerecalling their phrenic parents. animation with live-action. The intersects series about children who have grown up with schizo- ato a video , part of In 2001 Hodgson made Camouflage and energy Hodgson’s works, though,are fullof All of Bermuda In 1991,Hodgsonwasafounding memberof Forest (2006)mixes collage, Murmurs smallVictorian The ManwiththeBeautifulEyes (1999),combining The - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 somewhere else. begins intolerantmindsneedingascapegoat.story The of stand that maybe Zognever existed, except asaproduct thethird film we under to overrun Earth.Attheendof Zog have they Invasion decide thesamethought,andinThe humans, who decidetomakewaronZog’s planet.But tals are switched around. aliensare The unbearable for identical tohumansexcept that theirheadsandgeni- filmisaboutZog, first pamphlet. The an alienpeople It meditates on intolerance but ismuch richer thanamere FinalSolution(2004). Invasion (2001),andIntolerance III–The IntoleranceIntolerance I (2000),Intolerance trilogy: II– The a wood chair.film aboutthe hypothetical sex lifeof dictatorship. ances and is about the resistance the Communist against violinistAlex Hungarian Bal- cate. Itisbasedonthelifeof Change (1996) is poetic - and deli Wind of In contrast, The about five minutes each. tenshortfilmsof consisting of thebiblical commandments, 1996. Itisadesecration of Mulloy theseriesTen began Commandments,completedin Balances andPeter Brews. tant too. Mulloy works mainlywithtwo musicians, Alex as much truthaspossible. soundtrackisvery impor The 8 7 Figure 3.3 novels. Vera abstractanimator, NeubauershouldnotbeconfusedwiththeAustrian-German BärbelNeubauer. They created many workshops for young animatorstogether. Neubaueralso hasherown studio, Spectre Film,andwritesstories From 2000to2004Mulloy madehismasterpiece, the aChair,anabsurdist Sealiftof In 1998,Mulloy madeThe film,wasmadein1989.In1993, , hisfirst theStorm Eye of

Phil Mulloy, Intolerance, 2000–2004. - - phobias. silhouettes; they are weird andfrustrated, sufferingfrom four portrayed asblack ily sitcoms. Itisaboutafamilyof times. If he does, the mermaid must tothesea, hedoes, return themermaid times. If with him,provided hedoesn’t scoldhermore thanthree fallsinlovemermaid withaman.Shecanlive onearth mixed with live-action, is based on a legend in which a 1948), Phil Mulloy’s wife, Vera Neubauer(b. Czech Republic, Vera Neubauer tion, live-action drawing withsand,andclay animation. adults that never forgets thechild within,via2Danima- culture.the modern Neubauer presents animation for soul. Misogyny isshown asthemachismo that permeates visual poetry, representing thecomplex, fragile, feminine themthrough Europetales from andtransforms Eastern is questioned,mixed up, toobtainanewresult. ated through women, for women. Every genderstereotype andtheninLondon.Neubauer’sStuttgart works are cre - in Germany. Shespecialized indrawn animation,in first aoyo fam- , aparody Christies In 2006,Mulloy of madeThe (1995),madewithinkonpaper theLake Ladyof The Vera borrows stories from Genesisandlegendsfairy 7 Great Britain: The WonderfulChapter 3:Great Britain: Years studiedartanddrawing inPragueandadvertising

73 8 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 a puppetanimation setonasmall,isolated railway platform. animation films, which hemade Jumpby himself, (1989).In1999Astley are and Jeff MobileHome(1985)and The NewittmadeTrainspotter, 74 10 drawing withthenewcomputertechnology. Inthesame danger. Itmasterfullyandpoeticallymixes 2Dtraditional Jolly Roger(1998),aboutapirate shipandabridesmaid in defects. only thingthat The can unitethemishate. characters areto kill him. The subhuman, locked in their man isreally free; for thisreason,want theothervillagers where peoplehave dark andwretched souls. Onlyone logue abouthumanvice, setinaclaustrophobic village (1993) isBaker’s asimplebut incisive masterpiece: apo- Village The a couplelivingpeacefullyonthetitlefarm. about , asimplestory HillFarm style. In1989hemadeThe Television Schoolgraphic inBeaconsfieldand focused his animator. Knights,andbecameanassistant Three diploma film,The Art andDesign.Whilethere, Bakermadehisamazing De Wit andfollowed himtotheWest Surrey Collegeof don, Mark Baker(b. London,1959)metMichael Dudok During hisschool year ArtinLon- at St Martin’s School of Mark Baker atvtn ar aeo birthandlife, waranddeath. a captivating taleof fairy herdeath. Itis heryouth, andvisionsof hood, dreams of life unfolds before herchild hereyes,- woven withmyths of andclimbsintoherwheelchair.the ringonahorse Her animated Lady puppets. legendary Godiva The ridesinto places, such asHooked,aGuatemalan skeleton. spiritsandtotemsfrom these reproduce thefeatures of American countriessuch asPeru andGuatemala. Puppets an animatedaboutwomen’s documentary lives inLatin Channel 4commissionedVera, NeubauertomakeHooked withoutaman’s help. In2003, the girl escapesthewolf Red RidingHood,where animation, anewversion of sioned by Channel4andtheBritishFilmInstitute. become menandforced tolive asrats. Itwascommis- love and fear,of despair and murder, about rats wanting to (1999) andIDancefollowed. LaLuna(1999)isastory andtheFly Dragon with live-action and2Danimation. The Life (1996)isbasedontheOldTestament, made of Wheel where shecanlive wildandfree ashernature requires. 9 The Mummy’s Children Curse (1984),and The (1987). World Decision(1981), The Neubauer’s otherfilmsincludePipandBessie(1973–1975),The of Neville Astley (b. Keighley, Yorkshire, 1957), Mark Baker’s collaborator, from graduated Middlesex Polytechnic in London. His first

ledtoafurtherChannel4commission, Village The tostudy atIn 1983,hereturned theNational Filmand The LastCircus (2004)isamythological with lifestory The Woolly Wolf (2001)presents, through clay andpuppet Great Britain: The W Chapter 3:Great Britain: onderful onderful Years 9 period, Baker, alongwithanimator Neville Astley film exploring such modern phenomena as video games, phenomenaasvideo film exploring such modern pixilation. Morandi’s paintings, inthree dimensionsthrough reborn ticularly, isrich inatmosphere andvisualmagic. plots; his works are close to avant-garde. explored newvisualideasrather thancreating storiesand theAncientMariner.Through his works, Bush Rimeof The based onDante’s DivineComedy,thesecondonColeridge’s as erature andpoetry, hisworks such which inspire someof dailyobjects. Bushloves lit- technique toshow thesoulof arewhere animated andcoloured furnishings through the final result is extremely suggestive. frame thenrepaintingthem with contrasting colours. The film –specifically, makinglittlescratches directly oneach through which he became famous was direct painting on clients included Panasonic and Philips. technique The market influence. Healsodirected commercials and his Ancient MarinerProductions, tomakehisfilmswithout was inthe1990sthat hiswork reached awideaudience. and hadsuccesswithaudiencescritics. However, it short andmedium-lengthfilms were madeinthe1980s theCharterFilmWorkshop inCardiff. Hisfirst and of Co-op theLondonFilmmakers cinema asamemberof School andat GoldsmithsCollegeinLondon.Helearned Paul Bush(b. London,1956)studied finearts at Central Paul Bush iykndmi h ldso gaso ameadow. of grass a tiny kingdomintheblades of for young children with elves and small fairies; they live in Holly’s LittleKingdom,aseries 2009 thestudiomadeBen & and herfunny family. Itwasahugesuccessworldwide. In series 2009, withexpanded scenesandredefined images. eval knights. A remastered specialeditionwasproduced in (1999), afunny show aboutthree brave andgoofymedi- BigKnights studiomadeaseriesforThe theBBCcalled producer PhilDavies, established Astley BakerDavies Ltd. Still Life with Small Cup (1995) is dedicated to Giorgio (1999), Poetry Bush oftenusedpixilation, asinFurniture In 1996,hefounded hisown production company, In 2004,Astley BakerDavies Ltdmadethepreschool (1998). The first is Albatrossfirst (1998).The His Comedy(1994)andThe Peppa Pig,aboutafeistylittlegirl pigcalled Peppa h uoro True (1996) is a mid-length Things Rumour of The The Albatross, par The 10 and - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 frame by frameinsectanimation. human evolution(2004) concerns and was made with (2003) usedLisaMilroy’s DarwinSleeps. . paintings;While sexually explicit images, andSecret. Love 2002, BushmadeBusby Berkeley’s Tribute toMaeWest, with Mr. Hyde (2001),inwhich thecamerahasschizophrenia. In deux de deux (2001), both using pixilation, and useless robots. 11 puppetanimation anda actor, isadirector andwriterof Purves (b.Barry Woodbridge, originallyan 3July 1955), Barry Purves pastmasters. experience andtheinfluenceof ing from black andwhite tocolour, reflecting Williams’ the 1950sdrawings, thenhow they were animated, mov- afterthat, shows hecompletedthefilm.Itfirst 50 years and onlookers. Spain nearavillagecircus and drew theclowns, acrobats, It originated in1953,when young Williams waslivingin Pordenone SilentFilm Festival inItalySeptember 2010. silent shortcalledCircus Drawings,which premiered at the Kitwasusedby animationSurvival studentsworldwide. to a front view, or change a smile to a frown. soft andhard accents, aheadfrom theways aside toturn topicssuch astimingandspacing, nations andexamples of examples from thebook.Williams offers expla- animation of combined thetext withfootage from themasterclassesand Kit –ExpandedEdition,featuring a16-volume DVD box set).It animation. of onthehistory and generalinformation bookincludestechniques,(2002). The advice, tips, tricks, Classical, Computer, Animators Games, StopMotion,andInternet Methods, Principles, andFormulas for of Kit:A Manual Survival lar master classes led to the best-selling book Disney, Pixar, DreamWorks, andWarner Bros. Hispopu- teaching animation around theworld at such studiosas to During the 1990s, Richard Williams devoted himself Richard Williams Flak, atwo-part film x-rays, medical exams, and war. In 2000, Bush made The secondonewasanimatedThe by Phil Mulloy. After thesefilmscameLieDetector(2001)andPas de Twelve years later, Williams filmedthedrawings; nearly In 2009,Richard Williams completedanine-minute Animator’sA secondeditionfollowed in2009(The Survival 11 soigaftr ol fstupid, showing afuture world of Geisha Grooming The Animator’sThe The Animator’s The Dr. Jekyll and Flik . ol lobidamrelu uia,fl faction. could alsobuild amarvellous musical, fullof intimate subjectasthehomosexual love between warriors, music. director, The who hadfound inspiration insuch an film featuring Hamilton,ashy aardvark withapassion for paper-pulp. look simultaneously likehuman beingsandstatuettes of ship too. style isoriginalandfascinating: The thepuppets their working relationship andtheirvery humanrelation- and composerArthurSullivan. Infive chapters, itshows librettist William Schwenck Gilbert lives andworks of Purves madefor Bare Boards Productions. Itrecounts the (but never love vulgar) scenes. sensuality,for Patroclus. with explicit filmisfullof The Achillesriors andPatroclus. Achilles’ real ‘heel’ishislove film presents thehomosexual love between story the war theTrojan War,cant work. thebackground of Against the created by Mackinnon &Saunders. by Verdi, Giuseppe dark puppetswere andgothic.The theopera Rigoletto (1993)isa30-minute puppetversion of humble gardener, kabuki . representing theJapanese artof an impossible love between ahigh-rankinglady and a with Bare Boards Productions. Screen Play (1992) is about drama. tion andmagnification of his plays onstage, allwithoutsaying aword. It’s acelebra- Using mimeandprops, William Shakespeare summarizes Infinite The Next: (1989)isapuppetanimation. Variety Show tol, where herefined hisanimation technique. Hisfilm (1984). in theWillows Wind (1981)andThe television seriesincludingDangermouse many ain. Whilethere, hecontributed totheanimation of themostimportantchildren’s studios inGreat Brit- one of mation. Initially, hejoinedCosgrove HallProductions Ltd, and production. todirection career asanactorbefore addressing himself studies to classical Greekandculture. history a Hebegan music andopera.Purves dedicated hisuniversity seur of stageplays. Heisalsoaconnois- designer anddirector of Purves said: In 2001Purves produced HamiltonMattress, amid-length VeryGilbert andSullivan:The Models(1998)isthelastfilm In 1995,Purves madeAchilles , possibly hismost- signifi After leaving Aardman Studios, Purves collaborated In 1986hemoved toAardman Animations LtdinBris- In thelate 1970sPurves startedworking incinemaani- optr norsaeo budgets. the detailand I like onour scaleof computers texture that you can’t have indrawn films, oronmost I likeworking withpuppets(notclay) asthey give methe Great Britain: The WonderfulChapter 3:Great Britain: Years

75 - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 nppe nmto n a ocr fTchaikovskyon puppetanimation andhadaconcertof (1995) andKingKong (2003). involved insignificant roles onthe features Mars Attacks! Ragdoll’s latest series, Twirlywoos (UK,2014).Hewasalso (UK,2013);andwassupervisingdirectorSaunders on of for StudioM.I.R.(Moscow, 2011);directed 52episodes (France, 2010) and the melancholic directed, andanimated thedramatic Plumefor Dark Prince of 76 12 Figure 3.4 Barry Purves,Barry e-mailmessagetoGiannalberto Bendazzi,17January 2011.

Restless Purves also Barry had three books published In recent Purves years directed Barry the52episodes limitations. peculiar qualitiesshouldbeembraced,andnotseenas CGI. Its to be a puppet, and not a cheaper version of puppetshouldalways beallowed contribute toit.A and theperformance trick andthusyou share partof aware that they are puppets. You the are aware of the process. real space, andthat thehumanhandhasbeenpartof audience are aware that thepuppetshave existed, ina direct equivalent toanactingperformance. Andthe animation, itisalsospontaneous, givingthemost of committee working outwhat todo. Unlikeotherforms hand controlling thepuppet,andnotawhole teamor animation. Itisjustyour of pets isavery intimate form richness possible withpuppets. Butworking withpup- Rupert Bearfor Cosgrove HallFilms(UK, 2007);wrote, Toby’s Travelling Circus for Komixx and Mackinnon and Great Britain: The W Chapter 3:Great Britain: I enjoy watching puppets because you are always

Barry Purves,Barry Ac 12 hilles, 1995. onderful onderful Years Tchaikovsky: An Elegy lour, but Bobishaving amidlifecrisisandisconfused partyfor hisbirthday.a surprise They allhide inhispar friendsplan of a frustrated middle-ageddentist.A group numerous TV ads, andothermaterial inbetween. and Margaret(1998–2001,fundedpartlyby Channel4), made nine minutes. Aftermoving backtoLondon,thecouple and Out(1989)cramsalifetimefrom birthtodeath into elderly romance, which received anOscarnomination. In at NFBCinMontreal for many years. ond ClassMailandmoved toCanada,where they worked fromgraduated filmSec- NFTS in1984withthedegree da’s work hertoattempt andpersuaded animation. They Cana- who introduced hertotheNational FilmBoard of train asalive-action director. ThereshemetDavid Fine, up applying to theNational Film andTelevision School to College andLanchester Polytechnic. However, sheended andprofessionally.a couplebothpersonally David Fine(b. Toronto, are Canada,13September 1960) and Alison Snowden (b. Nottingham,UK,3April 1958) Snowden andFine where thepuppetfrom hisfilmnow resides. music dedicated tohimin2014at theTchaikovsky house, Bob’s Birthdayisa2Dtraditionalshortfilm, about Bob, (1987),about There they andRosemary madeGeorge artatAlison Snowden MansfieldArt studiedgraphic Bob’s Birthday (1993)andtheTVseriesspinoffBob - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 cial collaboration withhis12-year-old self. They both look Life at40(2005).Inthefilm Hill,aged34,imaginesaspe- filmwasMy in2006.Hisfirst Artandgraduated lege of Laurie Hill(b. 1970)studied animation at theRoyal Col- Laurie Hill Animation at Harvard University. thePracticeof Since 2006,Lingford hasbeenProfessor of Prize at theHiroshima Animation Festival. International FilmFestivalat theChicagoInternational andaSpecial aGoldHugo Halo Productions for C4)andwinnerof Channel 4. She was a principal animator on Silence (1998, ing the Philip Larkin poem, which was commissioned by live-action documentary, showing citiesdestroyed by war. ally totheenemy chief. Animatedwith imagesintersect sexu- and the woman who tries to save it by offering herself Judith aboutabesiegedcity andHolofernes, of story epic ten anddesignedwithwriterSaraMaitland)isbasedonthe documentary. styleisdark The andbiting. film(writ- The ings are filledand stylized, creating adark mood. order tosave herilldaughter. black The andwhite draw- motherisready tomeetDeathin inperson A desperate workAmiga tale. basedontheHansChristianAndersen nel 4commissionfor DeathandtheMother(1997),another theMoving Image, Lingford received a Chan- Museum of and lust.Afterathree-month residency inanimation at the underground who indulgesinfantasiesaboutwildshopping 1500computer.home Amiga Itisaboutawoman onthe Wants (1993),anexperimental filmmadeentirelya on Ruth She Lingford madeWhat (b. London,20May 1953) Ruth Lingford life. ily, hisshowbiz friends, andschool withthepressures of childIt isaboutasuperstar actorwho triestobalancefam- with StudioB. Production Sprocket (2007). –theseriesRicky toCanadain2004make–collaboration returned (their daughter Lily originally voiced the character). They (2007)andSnowden wrotethe Sheep scriptsfor Peppa Pig commercials. They alsodeveloped Aardman’s seriesShaun the Oscarfor BestAnimated Short Filmin1995. Canadaandwon duced withtheNational FilmBoard of thepeoplewhofilmwascopro canhearhim.The - ware of depressed. Whenhecomeshome, heactslikeafool, una- The OldFoolsIn 2002Lingford completedThe , illustrat- War, ananimated In 1998,Lingford madePleasures of In the2000s, Snowden andFinecontinued tomakeTV ho,fl funexpected andentertainingjuxtapositions. chaos, fullof meticulouslyexecuted hussies,Edwardian itisawork of many awards. Replete withdogfights, undeaddodos, and kissoldHollywood shortwon popstars actors. The ern silhouette animation.pastandpresent The mix;mod- ures from thearchive comealive, meetinginanoriginal phrases asprompts. InHill’s film, black and white fig- than setarigidbrief, thechallenge offered key words and historicalphotographs. Rather from itsHultonArchive of which invited tocreate filmmakers apiecewithimages He participated inacompetitionrunby GettyImages, surrealdetail. take onHollywood actioncinema,fullof angry, adventure tormented movies. filmisakindof The half-remembered offspringof was 12:itisthetormented Hillwrote Death(2006)isbasedonastory when he Taste of linearfragmentsplay simultaneously.hundreds of MyFirst intoculturalgold,as supposedly banalistransformed a year.home on one UK channel over The the space of paper, photography, andtime-lapsephotography. niques: real andcomputeranimated cutouts, drawing on hero andLamborghini owner. filmuses This varioustech- forward future toaglorious as 40-year-old conservation . The dialogue-free. The film has puppet animation Mushroom Thief tles. filmisoriginalandsensitive. The tofertilize theireggs,catch likeseatur mentotakesperm sand. They live inamatriarchal underwater societyand 3D computeranimation, made of envisages mermaids Moore. Henry film, made with The and thedrawings of which isinspired by Bronze-Age Cycladic fertilityfigures Breed (2002), known work Mermaids isthe10-minute How Animation in1998.Her best- becoming Professor of stings for TVandcinema.ShejoinedtheRCA in1994, tion. Shedirected many commercials, titlesequences, and British Animation 1987andwasbroadcast on Channel4. festivals worldwide. Itwon theMariKüttna Prize for Best Mervyn Peake’s TitusGroan. in 1987 with her short film graduated studied at theNational FilmandTelevision School and expression. Later, Ashworth embraced itashermeansof wasintroduced toanimation and UK, 16October 1959) and Design,Newport,Joan Ashworth (b. Lancashire, Art design atWhile studying Gwent graphic College of Joan Ashworth htgaho Jesus (2008)isprobably Hill’s masterpiece. of Photograph footage recorded at Weather (2006)isacollageof Report The In 2010,Ashworth completed theseven-minute The After graduating, Ashworth cofounded 3 Peach Anima- Great Britain: The WonderfulChapter 3:Great Britain: Years The WebThe wasshown at film The WebThe , based on

77 - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 rlatmt,atal esoto hiswalledhouse-uterus. eral attempts, actuallygetsoutof birth.Notanoteisheard untilPeter, of story aftersev- death,Peter sterility, isa of and Dogastory of was astory famous music in the film, which isall Templeton. If releases thewolf, which leaves thevillagewithdignity. have the same eyes now, fortified by experience. Peter makeeye contact;they captured wolf, but heand thewolf loses a friend, a duck. He goes to the village to sell the awolf,encounters andfightsdefeats it–althoughhe thevillage. Hegoesout, is bullied by theyoungsters of (2006), which won theOscarfor theBestAnimated Short. anxiety andsincere compassion. desperate environments. Hernarratives combinesincere thesoul,conflictingfeelings, and thedarkdepicts sideof are deliberately disturbingandinnoway endearing. She father isunable tohelp. SuzieTempleton’s clay figures die inquicksuccessionandwhose equallytraumatized atraumatized boy whose motheranddog of It isthestory ArtinLondonandmadetheclay animation Dog(2001). of cook it;tosave thevegetable, Stanley killsthewoman. its interiorlookslikeavagina. Hisjealouswifedecidesto hislostsexuality because world. Hiscabbage reminds himof growing cabbage thebiggest in anddreamsagriculture of tion film.Stanley isanostalgic,middle-agedman.Heloves Art & DesigninFarnham. ferent roles. Finally, sheenrolled at theSurrey Instituteof self-forming, spentmostlytravelling andtempingindif- of came toanimation andnineyears afterasciencedegree Suzie Templeton (b. Hampshire, 2August 1967) England, Suzie Templeton 78 13 green meadow.green and pixilation andfeatures agirl swimmingthrough alush Serge Kornmann writes:

hr s’ culyvr uho Sergey Prokofiev’sThere isn’t actuallyvery much of Peter isaboy withlarge, scared, resentful eyes who A leapforward washerpuppetfilmPeter andtheWolf TempletonAfter graduation, went totheRoyal College (1999),apuppetanima- piecewasStanley Her graduation renarde rusée’,Lalettre de l’AFCA,Paris, 2010;GiannalbertoBendazzi’s translation from French.) graceful, cause total enchantment.the animation, (Serge fluid and ‘Le Chrononaute: Opéra et dessin animé,Kornmann, La petite superiority over operatic mise en scène, to represent both a mosquito singing and a human being. wonderful The landscapes and [. . .] cinema.Animation bringsto the scenesanextremely modern softtransition.Ithasthis placeandtime, liketheeditingof changes of theopera are dividedintotwo sceneslinkedtogether, despitethe three The actsof CunningLittleVixen The [. . .] took delivery of association withtheBBC, LosAngelesOpera,theDeutsches Symphonie Orchester Berlin and theEuropean Centre for Opera) appearance. goodanimators andawhole Thirty studioworked at it.In2003,Opus Arte(in characters andsetsrankedinorder of of For ayear, [GeoffDunbar]listenedto music abeautifulanimatic,while drawing with all thesketches at thesametime:thuswasborn Great Britain: The W Chapter 3:Great Britain: onderful onderful Years Stanley ti oto animated opera. it isasortof byperformed theDeutsches Symphonie-Orchester Berlin; a feature filmbasedonLeoš Janácˇek’s work, with music became children’s CunningLittleVixen(2003)is songs. The made 2),Dunbar laborating with Paul McCartney (seeVol. based onthestoriesby Beatrix Potter. Oncemore col- animated series From 1994to1997,GeoffDunbarcollaborated onthe Geoff Dunbar ineverydaytory life. become ahero; lookslikeevery hisvictory spectator’s vic- Peter age andtrialerror. According tonarrative structures, fensive web toovercome hisenemy. Hewinsthrough cour village bullies use violence and firearms. Peter uses an inof- triumphaswell. The seclusion, loss, andthetemptation of sudden andcheerful. When hedoesescape, themusic eruptswiththesunlight, directed by Selick. Henry mator onthefeature filmCoraline, produced by Laikaand ; in2008hewasanani- Ernie made theshortInterrogating nist singsthefamousaria,Ridi,Pagliaccio!) In2000Lidster theclown Pagliaccio. protago (The - of tells thesadstory drawings. Inspired by Leoncavallo’s operaIPagliacci, it (1993)combinespuppetsand to stealherballoon.Clown animation, aboutalittlegirl andanevil manwho tries such (1997)andactors asDannysuch asRocky DeVito. Brisk Lipton.Usingclay, heparodied scenesfrom films mademany commercials for thedrink November 1960) Ken Lidster(b. Outlook,Saskatchewan, Canada,21 Ken Lidster tsasoyo strength too. Peter endures humiliation, It’s of astory His first important His first work isBalloon(1991),madeinclay t i hog i ieo passage. Buthedoesn’t had towinthrough hisriteof Tropic IslandHumm(1997)andTuesday (2000),which h aeo Peter Rabbit Tale andBenjamin Bunny, The of 13 - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 British writerJacqueline Wilson. live-action series based on the popular teenage books by special animation effects for Girls (2003–2005),a inLove peace is restored, but for how long? Ensby also made the prehension increases untilthefinalcollapse. Intheend, a quarrelthatasballoonontheirheads. appears Incom- made withtheSweetworld Collective. A dining couplehas (2007)isashortfilm Throwaway Amnesty International. Human: Measles(2006);thelatter isafilm/commercial for Muriel isthere for him. and when the frivolous Pippabetrays Kevin yet again, has afriendlyrelationship withKevin, Pippa’s boyfriend, attractive friendPippa,who hasmany admirers. Muriel funny shortfilmaboutMuriel,a woman who lives withher from Channel4 Other Directors Who Have Benefited Ensby Fast notable SpinFling(1998)isthefirst work by Sandra Sandra Ensby panels for the Machynileth Museum of Modern Art and Modern panels for the Machynileth Museum of then collaboratedtion. Higgins on three eight-foot mosaic soft colours, stylized figures, andslow andshivery anima- . Itusespencilonpaper, ArtwithGourmand College of and benefitedfrom Channel 4. followingThe directorshave also distinguished themselves 14 Figure 3.5 Sandra Ensby in2008,afterwhich toSalter. wasmarried shechanged hersurname (2001)andProtect andSex the Love A–Zof Ensby madeThe Andrew Higgins graduated in1996fromAndrew graduated Higgins theRoyal 14 (.Dre,Egad 9Jnay 1972).Itisa (b. 19January England, Dorset,

Suzie Templeton, Peter andtheWolf, 2006. Art inLondonwiththeshortNoah’s List (1996). received amaster’s inanimation at theRoyal Collegeof at Edinburghgrammed FilmFestival thesameyear. He film, ArtwithaBA inillustration. Hisgraduation School of acknowledgements. for autismand animation studies, winningawards and and educates. filmbecamea The reference work both ries, live footage, inaway andcommentary that enthrals autistic youngsters and adults. It uses their sto- world of ple. Simpleandsnappy, look at the thefilmtakesawarm Autism (1992). It animates paintings made by autistic peo- by –madeananimated documentary, DickArnall Aisfor After alongtimestudying thesubject,TimWebb –helped In 1992,Channel4plannedaTVseasonondisability. thebigcigarettecompanies. thehypocrisy of critique of animation director. toLondonjoinPicassoPicturesward, asan hereturned worked onFamous Fred, directed by Joanna Quinn.After intersect withwordsintersect andsounds. French; littlegirl triestolearn theimagesandletters A battle.in aterrific brave young boy intheHighlands, fights Kelpie andwins anddragsitsvictimsintothelake.to aseahorse Ewan,a themonsterthat lives inLoch Ness. Kelpie lookssimilar of menagerie. Hindustan’s about two wildcheetahs inthe emperor of In 1999 Gardner made Akbar’s Cheetah, a touching film Iain Gardner in1993from graduated theGlasgow Tim Webb’s film was graduation Kunyi ChenmadeRien(1998)usingpencilonpaper. The GildedMan,wasscreened onChannel4andpro - The Great Britain: The WonderfulChapter 3:Great Britain: Years The Loch NessKelpie–orjust(2004)tells The Smoke Rings (1986), a Smoke

79 - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 the Invisible, directed in2001by Audus. Hilary alsowroteHaddon. Briggs theoriginalscreenplay for Ivor Joanna (2004),by andFungustheBogeyman Harrison, Mark and DianneJackson, booksareBriggs’ Father Christmas(1991),by Dave Unwin by Jimmy Teru Murakami in1986).Later films based on and man, madeintoafilmdirected by Dianne Jackson in1982, - Snow tor specializinginbooksfor children (includingThe isafamousillustra- Wimbledon, UK,18January 1934) 80 Vrombat in1993 andbroadcast in2000.It tellsthestory beinga terribletiger. dreams of I Want To BeaTiger(1996)isaboutquietlittlecat who Up I Grow plays withthemoon;When which asmallwolf animated series. Little Wolf (1992) is a children’s short in than ananimator. Shehasmadetwo shortfilmsandone colourful land. swamps andwoods but endupinBeyond, ahappy and afuneraldirector who gothrough dark andcreepy ees of eight-and-a-half-minute filmfeatures thetwo sademploy- Animated ShortFilmat the2009Oscars. Made in3D, the Unfortunate,2004). Events A Series of thefilmLemonySnicket: ’sequenceat thebeginningof Elf cials, and film title sequences (for example, Littlest ‘The shortfilms, music videos, commer includes arangeof Bavasso at Nexus Productions portfolio inLondon.Their teamed upwithproducers ChrisO’Reilly andCharlotte Art’s animationin1997and course Royal Collegeof withhisthought. changescenery gradually mator isshown ashecreates thecharacters and thestory; ani- Art.The and produced by theEdinburgh Collegeof (1997) wasmadewithclay animation andpencilonpaper lines, withvibrantandviolentcolours. confused ditional 2Danimation.drawings The are fullof passive technique andill.The iscrayons onpaperandtra- reactions: some become aggressive andimpatient, others ple inasuburb. filmshows The various events andpeople’s (1994), aboutthedailytensionsandstresses affectingpeo- Artin1989.Hermostnotable filmisStressed College of focus onbeesandbeekeepers. metamorphosis consciousness. crosswise The imagesof strange stream of ney insidea windmill wheel, taking theviewer through a

In Petra Freeman’s (1992),agirl Mills beginsajour The As notedearlier (pleaseseeVol. 2), Raymond(b. Briggs The animatedThe series 64ZooLanewasconceived by children’sAn Vrombat booksmore isanillustrator of WayIn 2008,they madeThis Up , nominated for Best Alan SmithandAdamFoulkes from graduated the Jim Lefevre’s LittlePrincess’BirthdayParty shortfilm The Karen Kelly inanimation graduated from theRoyal Great Britain: The W Chapter 3:Great Britain: , made into an animated featurethe Wind Blows When The Bear(1999)by Audus Hilary and The onderful onderful Years - - Transportation toteach road safetytochildren. latterThe were all made for of the British Department whodidn’t Boy bright inthedark, The lookfor asafe place tocross. Boy who didn’t Girl who didn’t stop to look and listen, The dress lor alsomadeadvertising spotsfor PicassoPictures: The their couch. Tayexplore the universe- from the comfort of funny alienandhisweird dog, calledBingandBong, who dio. escape thedrawn world andrunaround theartist’s stu- animation andlive-action. Two figures, a manand woman, in 2Danimation andCGI. (2006), adefinitive A to Zguideaboutlivingwiththedead, movies.father addicted to western Soap Citywithamotherobsessedcleaningand about twinsLucienandWayne. They live inthetown of party. drunk andinsultclassmates andteachers at ahighschool of kids get A group of growing up. about the difficulties animationThe isfrenetic, irregular, andconfusing. everyone ismiserable andintoleranceneurosis reign. Consumerism.Inthisdark andlonelyworld, Heaven of leaves hometobuy somethinginamall, asickandstupid man stylized drawings, white pencil,andcrayon. A little Mr Jessop (1994),madewithblack and backgrounds, sharp tesque, notable andpoliticallyincorrect.Hisfirst work is Georgina, andevery animaltellsherastory. thegiraffe thezooenters by slidingdown thelongneckof animals, which become her friends. Every night Lucy Lucy, funny alittlegirlof who lives next toazoo fullof described as the first kinetic typographical film.He also kinetic typographical described as the first film,AmoreHis graduation Baciami(1988),should be mated commercials for Nike, MTV, andDeltaAirways. art decoadvertisements. hasmademany Harrison ani- illustrating thesungwords.gradually They resemble old reography, withwords andscriptmoving harmoniously, Oliver Harrison’s works cho are- basedontypographical Oliver Harrison worlds. animation andcreated works halfway between two artistic Many videoartistanimators decided toexperiment with Art Meets Video Animation Ed Taylor’s Business(1997)mixes 3D computer Sticky Daniel Austin (b. 1981)madeGuy’s GuidetoZombies Wood’s Brian Wood hasaparticularanimation style:dark, gro- Tiny Planets(1998–2000)isananimated seriesabouta The Cramp TwinsThe (2001–2006)isananimated series School Disco(1999)isaraw and cruelanimation Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 and ismadtopossesstheworld. moon, thescientist becomes awerewolf. Heloseshismind wolf, watched onscreen by amadscientist.With thefull way – figures. A girl ina wood is followed way –figures.by abigbad A girl mation that features simpleandstereotyped –inagood WolfmanTim Hope’s The (1999)isatraditional2Dani- Tim Hope udneo LesMills andJoanna Quinnat ChapterArts guidance of Women’s FilmGroup. animation under the Shelearned in1985andjoinedtheSouthWales1984. Shegraduated A Family Conversation, wasbroadcast onBBCtelevision in Her videoaboutmother-daughter (non)communication, group Dark Bananas.the feministvideoandperformance unlimited possibilities. Whileat artcollegeshecofounded spaces, such asthecity’s industrialoutskirts. world and urban environments – particularly liminal ied experiencebetween andtheintersection natural and digitaltechnologies. Parker wasinterested in embod- tography, performance, found objects, drawing, writing, place. Sheusedanimation, pho- subjectivity andsenseof 1955)explored Kayla Parker (b. 16 June Birmingham, Kayla Parker thehumanmind. of potential andfears 6,000 paintings, itisashortpsycho thrillerexploring the computer graphics, 3D, more than and2D. Composedof electro music inthebackground. Koda (2008)wasmadewith Dancing in 2008.Anoctopusdancesanaquarium,with Reeza Dolatabadi madethepuppetanimation shortOcto- Reeza Dolatabadi ‘OdeonMelancholy’ by John Keats.the words of desperate hands andskeletalfaces. Inthebackground are strangeanatomy book,animating drawings of a kindof death andthingsthat are gone. Itis the melancholy of Jo AnnKaplan’s for (2000)explores AnAnatomy Melancholy Kaplan Jo Ann song. (2000), ananimated videocreated for DeannaDurbin’s made sa rit akrcoeaiainbcueo its As anartist,Parker chose animation because of Love IsAll Place(1991),andLove Times (1989),Spiritof

animation madewithyoung carers. between BusinessandYoung People 2Care, aclay for There pany won theMediaInnovation Award for Collaboration disabled people andtheenvironment. In2009,thecom- of the UKandsocialshortfilmsadverts onbehalf films for satellite-driven screeningsandclubsacross inbars pany hasproduced many innovative projects including Sundog MediaPartnership with StuartMoore. com- The third lightandcloud.The filmwasTeign Spirit(2009). of stocking. Time-lapsebecomestranscendentinthisrecord magnoliapetals,als includingnailvarnish, hair, andnet dered directly onto35mmfilmstockusing various materi- sunsets, ren- is aboutaday-by-day showing diary ayear of convey hauntingandpowerful imagery. SunsetStrip(1996) action, puppetanimation, andscratching onthefilmto live- explores menstrual dreams, using a combination of Glasgow. Live Art, Tramway,program at the National Review of Small World (2007)for the Definitive Stories screening wall. Recent commissionsinclude the high-definition film 16mm diptych Verge (2005) for Salt Gallery, Hayle,- Corn theArtist;andSuper Inner City(2001),forYear The of sexual abuse; theinteriorlandscapeof an’s retracing of been basedinPlymouthsinceDecember 1989. Arts Centre andWatershed MediaCentre, Bristol.Shehas experimental filmmakerandpresented work at Plymouth shop (EFVW).Shecontinued todevelop herpracticeasan Exeter FilmandVideo Workment committeememberof - (1986). film, AdultDayReturn Centre, Cardiff. Whilethere, 16mm shemadeherfirst Deadsy isaneo-punk figure who eats live insectsandloves mixing 2Dtraditional animation, CGI,andlive-action. Deadsy (1989)andDoor(1990). isclosetovideoart, (1986),wonDreamless theHiroshima Sleep Peace Prize. enchantedcrossing landscape. anocturnal, Hisnext film, Made withsilhouetteanimation, itshows asmalltrain Dreamland Express (1982),won aBritishAcademy Award. Film andTelevision School film, inBeaconsfield.Hisfirst ArtandtheNational art. Hetrainedat Bath Academy of artist whose practicelay between animation andvideo wasanother David (b. Anderson July 1952) London, 20 David Anderson In 1997,Parker cofounded theproduction company Flame(1992) She madethree films for Animate. of Cage Works since2000includeWalking Out(2000),awom- Parker moved toDevon in1986andbecameamanage- He collaborated withthewriterRussell Hobantomake Great Britain: The WonderfulChapter 3:Great Britain: Years

81 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 82 15 Pin andtheSinfulClasp(1990).Two-dimensional paper Brooch trip.country film Hergraduation at NFTSwasThe town peopleona agroup of about theinnerdesires of Nature, Discreetshe produced Callof thelive-action The join theNational FilmandTelevision School. Whilethere, bauer’s works. Hump Back Angel, is a dark tale inspiredThe by Vera - Neu scratching anddrawing directly onfilm.Hersecondfilm, Chagall’s painting. Itisatribute toJean Cocteau’s poetry, Super 8 camera, is film,made witha tion, art,andclassicdrama.Herfirst made by women inthetwentieth century. her work isinfluencedmore by fineart,especially that the Brothers Quay wasvery encouragingtoher, although National Film and Television School. Her friendship with at the London. Shestudiedfilmmakingmore formally Artin studied experimental film at St Martin’s School of been educated in fineart at KingstonUniversity andthen revisits thePandora way. myth inamodern Shehad ticipated inthe itinerantexhibition Pandora’s Box, which her works were shown and she par in London art galleries JoWOnder (b. Taplow, asapainter. 1958)began In1983, JoWOnder hot fire likesmoke, andundergo many other changes. atree, arisefrom a where slide away letters likeleaves of Hafez’s words, thefilmshows anaerialshininglandscape who lived inthe thirteenth century, tothe screen. Using themetaphysical poetHafez, aim istobringthework of from Hafez by theIranianwriterJilaPeacock. film’s The latter is a short animation film based on the bookTen Poems theHidden (2008).The Gravity (2003),andTongue of Sense of metabolizes hislived drama. various items, tobefreed when the subjectrealizes and that memories are imprisonedin events andthebelief animated documentary. Itsthemesincludetraumatic language. apocalyptic world marked by confusionandthelossof Channel 4,withpuppetanimation.settingisapost- The rolling head.Doorisananimatedmadefor documentary everything that is dark and deadly. narrator is a 3D The Real nameJoanna Woodward.

The Hump Back , Angel JoWOnder to The Thanks was able to During herartisticcareer, JoWOnder combined anima- David Anderson’s later films were MotionControl (2001), Angels , another madeIntheTimeof In 1994Anderson Great Britain: The W Chapter 3:Great Britain: 15 h oto Hl Past, named after Three Half Poet of The onderful onderful Years - for Ophelia. thepublic toleave voicemail messages invites of members six-day period,filming themintime-lapse.The installation livingbacteria.JoWOnder made the paintingsover a of Shakespeare’s doomed Ophelia, remade in the colours of bacterial painting’.ItisbasedonJohn Millais’s painting a‘time-lapsed Ophelia (2009),isahigh-definitionvideoof Passion WithA Stranger (2008). the stop-framevideoinstallation Don’t SubmitTo A Moments thesamename;and paintingof based ontheMaxErnst Cat (1997);Two by aNightingale(2003), Children Threatened (1991); only amechanical figure. askyscraper. Intheend,hediscovers she’son thetopof amanwho fallsinlove witha dancerhesees of the story figures, puppetanimation, andlive-action are usedtotell commercials. Charlatans.and The Healso mademusic videoclipsand collaborations withartistssuch asHowie B, Manu Chao, digital andelectronic sounds, metropolitan music, and different styles. For soundtrackshefavoursdense mixof hand drawings andSuper8shortfilms, in aquickand mixed with art. HelikestousecollageslikeMaxErnst, a cowboy. showing manand aping-pongbattle between amodern and hallucinations. In1998Wrake madePingBatterPong, a suburban town, meetingstrangepeople, weird animals, walksalongthestreets of ing paintsandpictures. A boy in 2Dtraditionalanimation andcomputergraphics, add- with weird images. andgraceless Jukebox wasalsomade puter graphics, andclay animation) isasurrealartwork (1994). in London. Art Artandanimation at theRoyal Collegeof School of designat andthengoontostudy Chelsea course graphic WallThe , which inspired himtotakeanartfoundation to ruralLeicestershireandSussex. Hesaw AlanParker’s inYemen 2012)wasborn but soonmoved21 October 1963–Ashford, Kent,Run Wrake (Aden,24November Run Wrake asGobePeso Another videoinstallation, 6DaysGoodbye Poems of JoWOnder’s Weatherhouse otherworks includeThe Graphically, Wrake’s influencesare dadaismandpop moviesHis graduation are Anyway(1990)and Jukebox Anyway (madewith2Dtraditionalanimation, com- The Wisdom(1992);The for of Sawdust Brains andtheKey Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 ous heroine andherunknown allyfightingan evil scientist. using imagesfrom thevast archive; hasamysteri thestory - their Charles S. film isanimated collection.The Anderson Veer, theCanadianvisual elementsagency, topromote music wasby Howie B. pictures in a punchy way, and it won several awards. The subvertingple moralitytaleaboutgreed, classicchildren’s andcruelty.landscape hidesdangers isasim- story The main child characters are evil, andtheapparently idyllic purityisupset:the to helpchildren read).myth The of children’s picture book(withwords writtenover pictures Figure 3.6 thetripandlandscapeitcrosses. details of words, lyrics, and spare paints, illustrating ensemble of amusic animation band.The isblack andwhite, an of 11,000 milesinsixweeks through theUSincompany aroad movie, inwhich hecoversthe animated version of athan Hodgson. In 1998HiltonmadeSixWeeks inJune, colours, symbols, andmusic). MewasmadewithJon Save - animation, asemblematic words are crossed withimages, and Word very importanttohim. and abstract paintings inhisvideos. soundtrackisalso The He wasavideoartistat heart,puttingtogetherimages commercials. almost immediately becameadirector of Artand PolytechnicLiverpool andat theRoyal Collegeof Stuart Hilton(b. Leyland, Lancashire, 1965)studiedat Stuart Hilton The Control Master(2008)isashortcommissionedby The Wrake’s isRabbit masterpiece (2005),basedona1950s Since Save Me(1994,videoartmixedSave withspare andstylized (1988),Procession inaSuperstore (1990),Argument (1992), Starting (1988),hehasmademany films:Machine

Run Wrake, Rabbit, 2005. their personal dreams.their personal other animalsinthedesperate search for sense, following films usedreamlike paintingsandanimalsthat become sequences,tographic live-action, anddigitalmedia.Her drawing, puppet work, animating theenvironment, pho- animated films with various techniques:glass, oilpainton of achieving one’s dreams. Leemakes about thedifficulty , Heaven how hard they Gatesof are. In2004shemadeThe desired freedom, toescapefrom astrictmother. along- girl, thewonderful bird becomesthesymbolof snow, anastonishedlittlegirl. For before theeyes the of shows a small crane as it follows golden fish in a lake in local artists. film,madein2Dtraditionalanimation, This burg, Russia, ahugeamountfrom where the shelearned filmBirdher graduation BecomesBird (1997)inEkaterin- Lucy Lee(b. Twickenham, UK,16February 1971) made Lucy Lee mam nml.A ucsino sequencesshows the successionof embalms animals. A surrealist documentary, who dealingwithataxidermist mated film wasButcher’s Hook (1996). It is a Daliesque about theAnnunciation, Pummell’s mostimportantani- newtechnologies. inaworld of one’s self ety caused by having aphysical body andtheneedtofind live-action andframeby frame. ontheanxi- Hisfilmsturn ette animation, digital manipulation andpostproduction, traditionalanimation. Heusedshadow andsilhou- aries of Simon Pummell(b. Norwich, UK,1959)crossed thebound- Simon Pummell Lee’s next film,Waiting (2002),isaboutlove andloss Following Falling Angels (1991), works such asSecret Joy of Great Britain: The WonderfulChapter 3:Great Britain: Years

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Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 (b. 22February 1967) andMartinDavies (b. 9 February 1969). action, andTastes Tuna like PlaceandAwayFrom (2000).Bolexbrothers Children also produced inaDry (1999),directed by Keep Andy Brown 19February 1971).Birmingham, Two years later, Boothcreated LittleDark Poet (1998),afive-minute shortcombining animation andlive- ocet h eahsclvsoso themain character.’to create themetaphysical visionsof relies very substantiallyonsustained animation sequences thefilm isinlive-action, Pummellsays:film ‘This much of Illness . Although MyNervous his autobiography, Memoirs of intoawoman; duringhisconfinement, hewrote turning tury. Hebelieved hewasreceiving messagesfrom Godand the twentieth cen- yer of confinedtoanasylum at theturn DanielPaul Schreber, law- of aGerman tells thetruestory interviews, dramatic reconstructions, andCGIanimation, it Sou, at theVenice FilmFestival. Through documentary with fundingfrom Channel4. Radiohead.Itwasmade posed by Jonny Greenwood of abouthumanlifewithasoundtrackcom- documentary action spending hislifeindarkness. Itwasfollowed by thelive- who toseetheworld aperson must learn after pain of of the fifty. yearning, confusion,and The filmtells age of blind, whosightthrough gains a man,born surgeryat the an animatedwithspecialeffects. documentary Itisabout from Dr Seussandavisualstylethat’s quiteotherworldly. filmopensina1950s The world withtoned-down characters with hisnewgun–unfortunately for theobjects inhisroom. ray gun.When they arrive home, theboy continues toplay him, hismotherallows himtoopenapresent, aplastictoy jam, aboy fidgets restlessly besidehismother. To placate digital animation withlive-action figures. Stuckinatraffic promo forCouldBeHeaven’. theirsong‘This commissioned by themusic bandQueenasahypothetical robotic ‘ThirdHand’.Itwasananimated documentary, artistStelarcthe technology andhisinventions, such asthe ground. Inthesameyear,, about PummellmadeEvolution (areal man),withmelancholic musicdermist intheback- thetaxi- stuffed animals, as well astheinexpressive faceof 84 17 16 Speedy Filmsandcoordinated adverts andshort films for Design. Aftergraduating, hebecamestudio managerat Artand studied animation at West Surrey Collegeof 1966) Chris Shepherd(b. UK,4December Liverpool, Chris Shepherd Simon Pummell,e-mailmessagetoAndrew Osmond,17May 2012. The SaintInspector , amulti-award-winningIn 1996,Bolexbrothers clay financedThe animation filmdirected by the young MikeBooth(b.

In 2011,Pummellpremiered thefeature filmShock Head Pummell’s mosttouching work isBlindedby Light (2000), Ray GunFun(1998),commissionedby Channel4,mixes Great Britain: The W Chapter 3:Great Britain: How LongIsaMinute(2000)andBodysong(2004), How onderful onderful Years 16 wonders why thishappens. injustice. DennisistakentoamentalhospitalandBilly iscreepy,neighbour Dennis. story The sad,andfullof action andanimation. Billy, ayoung boy, isscared by his that’s rather caricatural. margins. drawings The are linear, withasimpleblack line woods, survivingby hunting andkilling, happy onsociety’s I Want (2005).PeteWhat isamanwho lives aloneinthe cruelty andviolence, andadmiration becomesrevulsion. for hisfriendJohnno. Atthestory’s end,Johnno reveals his by thepast,permeated the admiration hefeels memories of flashbacks. A boy putstogether ter istoldthrough aseriesof (2001), the Vietnam War. Interiors Worlds There followed The of – andcurrentaffairs for history example, Oasistalksabout clay puppets, showingandbandsdiscussing famoussingers latter (2000).The isanirreverentSkool animated serieswith languageanddarkfilm hasscurrilous backgrounds. pub. Madein3Dcomputeranimation andlive-action, the light is the titular ate future suburbia, the only spark of winning ductions Ltdanddirected andproduced themulti-award- TV. In1995hesetupacompany calledPolkadot Pro- ent films. – butBudweiser onlytohave revenue- to make independ They alsomade successfulcommercials –for example, for animation, which wentmarket against requirements. of 1960s. Bolexbrothers madestrangefilms, ontheborder inthe filmmakers camera that revolutionized thejobof Riddet, andNickUpton. Bristol. It was founded in 1983 by Dave Borthwick, Dave studiosisBolexbrothers,independent which operates in themostinteresting young talents. Oneof of integration newcreative ideasand for the patronage and market of arose inBritain.They proved vitalfor thedevelopment In thelastthirtyyears, various smallanimation studios Bolexbrothers In 2006ShepherdmadeSilenceIsGoldeninbothlive- and Chris Shepherd’s I Am mostsuccessfulfilmisWho After this, Shepherdrealized BigTrain (1998)andPop The studio’sThe namecomesfrom theBolex, alegendary People’s Britain(2001),andDad’s lat Dead(2003).The - The BrokenJaw (1997)for Channel4.Inadesper The 17 -

Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 most notable work. Directed by Borthwick originating inaten-minute pilot in1989),isthestudio’s 19 18 is aclassic,oldstyle, man.Heloves English theritualof and looksbacktothepast.Wallace from Wallace & Gromit entirely real. finalproductThe is obviouslyvery animated but seems strong characterization mixed withanthropomorphism. people (beginningwithAnimatedConversations, 1978);and ordinary the focus onthedailyandsocialproblems of choly and loneliness present under the surface humour; melan- puter animation in postproduction); the veil of clay animation (later accompaniedby unobtrusive com- thematic stageswhilesomeessentials:theuseof keeping has gonethrough many different aesthetic,stylistic,and through thestudio’s captivating stylisticchoices. thecharacters Wallace andGromit, as well as success of both for audiences andcritics. happenedthrough This the worldwide asBritain’s mostimportantanimation studio, studio, which in the 1990s and 2000s became established Britishanimation wasBristol’s Aardman A basicreality of Aardman (1988), andFrom A toHand Back Again(1993). digital animation.’ incidentandsmoothly wrought 3-D film has]plentyof flavour.yield toitsgeneric,all-purpose [thoughthe [. . .] the picture is to forget the original series and ment out of Derek Elley wrote: onlyway ‘The togetsomeentertain- and Frank Passingham. Variety InDaily on9February 2005, Roundabout,directed byMagic BorthwickwithJean Duval actors. puppets oftenshare thescenewithpixilated live frame-by-frame animation andpixilation; bination of andothernonverbalgrunts vocalizations. Itusesacom- people inaswamp, who helphimonhisjourney. similarly-sized laboratory but escapestoacommunity of squalid urbanenvironment. He’s takentoanexperimental for adults. Tom and is a fetus-like infant living in a grim it’s madeespecially 27October 2012), July 1947–Bristol, Derek Elley, Magic Roundabout ‘The (Movie Review)’, Variety Daily , 9February 2005. Borthwick’s career inanimation hadbegunin1986, withGrass andCreatures Grow , followed by VikingsGoPumping(1987),Igors Horn h ertAvnue fTom (a1993feature, Thumb Secret Adventures of The Aardman love cinemahomages, tributes totradition, Aardman hasoperated inBristolsincethe1970s. It The In 2004,Bolexbrothers Studiomadethefeature The filmislargelyThe dialogue-free, limitedmostlyto 19 18 (Bristol,26 Wallace andGromit. the two most famous characters created by the studio: without focusing onNickPark, thecreative mindbehind who fallsintothesewer andhasmany adventures. Roddy, of filmtellsthestory man. The aposhpetmouse, previously, through specialsoftware developed by Aard- though theCGIimagesare created over clay figures made man filmmadecompletely by 3Dcomputertechnology, studio DreamWorks Aard Animation.wasthefirst - This was (2005), discussedbelow, thethird feature film by Aardman animation, pixilation, andlive-action. repulsive 15-year-old boy. clay technique The isamixof two BAFTA Awards andaGoldenGlobe. before finalediting.The film wonmany prizes, including every frameandmanipulating single them production of Process technology,Intermediate allowing for thepost- is exploited tothe limit. serious issuessuch asimprisonmentwhere theindividual humour,Mel Gibson.Yet treats glaze thefilm,underaof comedy centred onthecircus rooster Rocky, voiced by camp but weakens itspossible messageswithcharacter farm-as-concentration thedarker overtones of some of their operation to makingchicken pies. film plays The with but setonaYorkshire whose ownersdecidetomove farm It wasinspired by theclassicBritishWorld War IImovies (2000) –basically, withhensandarooster. Great Escape The Equipped, andBabylon . Lip Synch, which includedAardman’s War, Story five shortfilms, 1989 Channel4commissionedaseriesof was asmallstudiowithvery low budget. However, in Sproxton (b. Bristol,6January 1954). Initially, Aardman Aardman Animation), andDavid dent andCEOof friends Peter Presi Lord- (b. Bristol,4November 1953, exactly what they shouldbe. perfecttime, anidealperiodwhere thingsare a sortof In theirworks, Aardman seemstobealways researching on hiscouch, andbuilding strangebut working objects. andcheese,tea withcrackers reading thedailynewspaper ti o osbet xli h ucs fAardman It isnotpossible toexplain thesuccessof Following Kid , abouta In 1998Aardman created theseriesAngry EuropeanChicken Runwasthefirst filmtouseDigital feature first The created by Aardman wasChickenRun As mentionedabove, thestudiowasfounded by school (2006), in partnership withtheAmerican Flushed Away(2006),inpartnership Great Britain: The WonderfulChapter 3:Great Britain: Years alc rmt h us ftheWere-Rabbit Wallace & Curse of Gromit: The Going

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Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 background visual gags sothepeople’sbackground visualgags everyday problems these supposedinterviewswith the animals, Park inserts with hislifebut thinkshedeserves better. Whilestaging menting on their various habitats. Everyone is satisfied com- animalsseemingly their perspectives intheguiseof their homeenvironments. enables This Park to represent real people’s attitudes tozoos andreflections on ings of His filmCreature Comforts (1989)combinesvoice record- humanfoibles. also spellboundby allthesmallaspectsof animated sequencesonPee-wee’s Playhouse(1986).Hewas Gabriel’s music video, Sledgehammer(1985),andonsome sion School inBeaconsfield. School andthenmoved totheNational FilmandTelevi- incommunication1980, hegraduated artsat SheffieldArt decided that animation waswhat hewantedtopursue. In broadcast ashortextract from hisfilm. Park hadalready theYear Competition.Hedidn’tof win,but theBBC genre adventures. placedinHollywood-stylecharacters are incongruously hishumourandstorytelling, inwhich localBritish tion of Dandy.They played- The animportantrole intheforma table comicoutcomes. simple problem. Breakdown, defeat, andchaos are inevi- they offeran over-the-top andunworkable solutiontoa machinesThese are consistently characterized by the way lace’s commitmenttoHeath Robinson-styled inventions. to eccentricandobsessive behaviour, epitomized by Wal- has always beenattracted toverbal andvisualpuns situations from everyday characters and experiences. Park Park’s eye forandhisabilitytocreate avisualgag comic ments, such asArchie’s Concrete Nightmare (1975),which reveal andlaterryhausen, TVanimation by Terry Gilliam. admiring films by the Halas & Bacheloradmiring films studio, Rayby theHalas & Har Sunday Nickwassoonattracted afternoons. toanimation, 8mmfilmstohisfamilyon regularly showed avariety of acertaininventor calledWallace,of you’re notwrong – thisreminds you andamateur inventortographer –if Whilehewasachild, hisfather,ber 1958. Roger, apho- Nick Park inPreston, Lancashire, was born on6Decem- Nick Park 86 22 21 20 excellent directors, such asJeff Newitt, Me. . . MeNot(1992),andDarren Walsh.who madeLoves Loves The Beanoin2008. The Park editionof guest-editedthe70thanniversary By Paul Wells. Golezowski (b. Suffolk,UK,1959) joinedthestudioin1983andcollaborated onWallace & Gromit projects. Aardman has many other

akwre ntednigciknsqec fPeter Park worked onthedancing chicken sequence of At fifteen, Park entered aEuropean Young Filmmaker The Beanoand theBritishcomicsThe Park wasalsoafanof influencessoonpromptedThese ‘bedroom’ film experi- Great Britain: The W Chapter 3:Great Britain: 20 21 onderful onderful Years - oykos smd fcheese. body knows, ismadeof (homemade) rocket and go to the moon – which, as every- cheese, sothey decide to build a and Gromit runout of whimsical, inherently British, puppet animation. Wallace Sproxton recognized Park’s talentfor producing wittyand Peter Lord andDavid Sproxton at Aardman. Lord and filmwasonlycompleted moon. The when Park joined tures Wallace’s handmade efforts tothe for journeying Film andTelevision School. AGrand DayOut(1989)fea- featuredfirst in Park’sgraduation film from the National lace andhismute, knowing, caninecompanionGromit, was directed by Richard Golezowski. ics, made both inthe UK andtheUS. series version The top- series usingordinarypeopletalkingaboutarangeof acclaimed. In2003,Creature Comforts alsoinspired aTV British public, andtheadverts were popularandcritically tic comfort recognized, embraced, and aspired to by the Agency. animalseffectively The encapsulated a domes- commercials for ‘Heat Electric’ for the GGK a series of Oscar.first clash withthefunny images. For thisshort,Park won his in Wallace’s actions, andtheways heiseasilytakeninby marginalized; Wallace rebukes him; Gromit seestheerror potential companionorinterest; Gromit seems initially Wallace embarks on a scheme, often distracted by a new in1921.Gromit neverish actorborn speaks. Nott. Wallace’s voice belongstoPeter Sallis, a famousBrit- tothefilmsandare alwaysintegral composed by Julian them real andcaptivating. music The andsoundtrack are creator’s are clearly fingerprints visible, helpingtomake beginning, realized inaspecialway –raw anddirty–sothe Steve Box. television, andin collaboration withtheyoung animator BobBaker, aBristolwriterfor cinemaand the helpof Wigan backbedroom. screenplay The waswrittenwith actionfinale–BenHurina ends happilywithaglorious twist. Everythingpenguin and the film takes apolice-story Wallace rents aroom intheirhousetoasuspicious-looking take Gromit for awalkwithnoeffort for Wallace.Then robotic trousers that can in 1993.Wallace builds apairof Their second adventure,Their Wrong The Trousers , was made Park’s mostfamouscharacters, eccentric inventor Wal- In 1990,theCreature Comfortswasadaptedfor concept There really isonlyoneWallace andGromit story. Wallace andGromit’s clay figures are, from the very 22 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 running ahumane pestcontrol service. Wallace vieswith the scare andmakesthemonsteranything but monstrous. that horror andhumourare close. Hechooses thelaughnot the ways itprovokes fear but inspires fun.Park recognizes village vegetable patches. gothictaleisexploited The for amonster rabbit plundering of story Hyde-cum-werewolf theWere-Rabbit, codirected withSteve Box, isaJekyllof and lywood narratives. feature The Wallace &Curse Gromit: The Hol- the Britishparochial sensibilityintheframeworks of short films. conservative outlooks. They are morethan pictorialgags world asasafe, retro-styled Britain,with1950svalues and vest, and the snowmanatron) further defined Park’sproof (featuring such inventions asthesoccamatic, thebully - initially for Web-exhibition. two-minute These vignettes spinoff, tenshortfilmscalledCracking Contraptions(2002) series, another while Wallace’s machines became part of hisown spinoffMatic. In2007, Shaunbecamethestarof in accidentlyshorn Wallace’s Knit-O- who findshimself rected withPeter Lord. machine inChickenRun(2000,seeabove), which Park codi- hopes tomakedogfood, anticipates thepie-making Preston’s Mutton-O-Matic, in which in A Close Shave he ridge gun. withapor vision, couldasidecar-cum-plane bearmed weaponry, but onlyinBritain,andperhapsPark’s Japan, Astroboy is empowered withrocket legs and laser a precipitous cliff, Gromit’s sidecarbecomesaplane. In chase Preston onamotorbikeandsidecar. Plungingover in setpiecechases. Inonesequence, Wallace andGromit to bearobot-dog-gone-wrong. Park, oncemore, engages scam led bysheep-rustling her dog, out Preston, who turns a aninventor who becomespartof is thedaughterof withalove(1995), thefirst interest for Wallace. Wendolene themall. Wallace isamasterof recognition andamusement for Englishmen. points of innocence, ignorance, are andembarrassment thestaple Britishcomedy,failings. isnottheway inwhich This of Were-Rabbit (2005),inwhich Wallace couldrecognize his the Curse of &Gromit: The mulaic conclusiontoWallace producer, JeffreyKatzenberg, who requested amore for everybody’s amusement andacceptance. ciates Gromit nothing from but the adventure, learns to others, andthussaves theday; Wallace ultimately appre- Wallace and Gromit are the accidental heroes, now As notedearlier, Park particularly enjoys playing out ShauntheSheep, alsomarksA CloseShave thedebut of thirdThis film won anOscaranda BAFTA in1996. thirdThe Wallace andGromit outingwasACloseShave lastpointwaslostonDreamWorks’This executive - - and actress Victoria Wood. Betjeman, thefilmmakerMikeLeigh,andcomedienne thenovelist andplaywright AlanBennett,thepoetJohn of sions andpastimes. Park situates his work inthetradition stories, as is a genuine affection for their small-scale pas- Park’sthey have aberrations, temporary isat theheartof devotion istrulyfascinating. side. sortof This gets thefeelingthat Gromit willalways beonWallace’s ignored, andsacrificed by Wallace. Despitethis, theviewer him through crazyadventures. OftenGromit isisolated, hisfaithfuldog, who follows of and isalittleneglectful intense relationship. Wallace hashisheadintheclouds funny and appearanceandsurrealhumour–istheirdeep that theduorepresent. thelost,better, past andimaginary comforting context of cal innovations. Oncemore, progress ismadesafeby the , featuring technologi Invention - BBC seriescalledWorld of can conquerall.In2010,Wallace andGromit hosteda jects, insisting that good humour, and affection warmth, They export an old-world Britain, reassuring for its sub- Wallace and Gromit are acknowledged worldwide. stars Piella iseaten by acrocodile. Fluffles; attempts tokill Wallace andwinstheheartof who mistreats her pet dog, Fluffles. Gromit foils Bakewell’s love interest istheembittered murderess, PiellaBakewell, Hitchcock, Wallace’s Another mock-thriller in thestyleof viewers, which isextraordinary inthemulti-channel era. 14 million the UKonChristmasDay withanaudienceof Film. 2006 thefilm won anOscar for BestAnimated Feature forgerprints, scenesimpossible withstop-framealone. In clay perfectly, withscratchesthe appearanceof andfin- tudes. Aardman developed 3Dsoftware that reproduced contexts tomakeironic atti pointsaboutcontemporary - hiswork, heusesold-fashioned often-overlooked aspectof petty conflicts, status issues, andbehavioural foibles. Inan Tottington, andPark minesBritain’s classsystemfor its Lady Lord Victor for theaffectionsof Quartermaine and SaraCox insize andgrew anddiversity through the studio was originally founded by animators Sally Arthur Arthur Cox Studiospecializes inallthingsmoving. The Arthur Cox Londoners h nrni eif ntegons f epe vni people, even if inthegoodnessof intrinsicbelief The Wallace and Gromit’s strengthsOne of – besides their Park’s comicinvention remains undiminished,and Park’s Great Britain: The WonderfulChapter 3:Great Britain: Years atro La andDeath(2008)premiered in Loaf A Matterof

87 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 88 the thirteen-minute Jo Jo intheStars (2004),inspired by a book by Oliver Jeffers celebrating loyalty andfriendship. directed animation rocky, immediate, andpunchy. In2008,Hunt mation. visualstyleisdreamlike The andstylized andthe white, withoverlaps, collage, andpuppetobjectsani- live filmismadein reading The blackand performances. William S. Burroughs andwasinspired by his words of Dominoes (1991). shortfilm was Spotless studio basedinLondon.Hisfirst Studio AKA, an animation Artistic Director of Chief Philip Hunt(b. Bidcock-upon-Avon, UK,1966)isthe Studio AKA Texaco andVCCP. Hector,a road safety miniseries for Peculiar Adventures of Film Festival. In2007,ArthurandCox codirected The footage andscreened incompetitionat the2009 Tribeca man, andATimea(2009),madefrom archive made with 2D computer and animated objects for Aard - school bullies. Pockets of (2004),asadstory Pleasure (2001),commissioned by Channel4,andHeavy they are unitedby an invisible thread.camePain Then by suicide, oneinacarcrash, andoneby drowning –but and lastmoments. Threepeoplewilldieseparately–one made anddrawingwith abstractcolours onpaper. In1997Cox ArtinLondonwithReelto,made the Royal Collegeof London. the A–Zmapof and theirdeteriorating possessions, andA–Z(2007),about and directed Perfect (2004),aboutasuburban 1970scouple (2000). (1999) andDearDairy to theRCA Animation course, where shemadeCupotea Darling. Fundedby Arts, thefilmwas her ticket Northern film,Picassoesque, based on a poem bymake her first Julia tion. Localteacher andanimator Peter Leakehelped there adegree andbecameinterested inanima- earned Newcastle upon Tyne.fine art She at the University of ArtandDesignbefore venturing northtostudy College of one-year FineArtFoundation at course MidCheshire job basis. years. studio’s onajob-to- The visualstyle is determined

The studio’sThe leadingdirector isMarc Craste, who made In 1994hemadeAhPook IsHere!, which illustrates the Cox’s recent works includeDon’t LetItAllUnravel(2007), Sarah Cox in1992from (b. graduated 6August 1966) She setupArthurCox StudiowithSarahCox in2002 Sally Arthur(b. 1971)dida Chester, UK,1October Great Britain: The W Chapter 3:Great Britain: hr xlrn h enn fdeath 3 Ways toGo,ashortexploring themeaningof naatto fthechildren’sLost andFound , anadaptation of onderful onderful Years friends. The film gained friends. filmattention The worldwide. growingidentity, up, anddangerous theresponsibilities of a14-year-old boy.of Hecontendswithaconfusedsexual In 2008hemadeRabbit Punch, aboutthelifeanddrama its dark side. complete harmony. Buteverything, itissoonrevealed, has made for theRoyal OperaHouseaboutafamilylivingin indifference. Craste’s Stuck onaSunday(2009)isdark tale inpettinessand tecting theworld andriskslosingitself pro- strangelittlecreature hasthestrenuous taskof A Varmints, basedonthechildren’s booksby HelenWard. and selfishness. wretched world, thetwo lovers desperately resist jealousy ist, secretly beloved by amysterious figure. Inabrutaland Nick Cave song, Jo Carny’. ‘The Jo isasilver trapeze art- rdtoa rwn.Tefl ossso small examples traditional drawing. filmconsists of The (2004),Greavesing ball.InLittleThings mixes CGI and made withRichard Jack, isaboutashy andlonelybowl- dimensional. Greaves’ next film,Rocking’& Rollin’ (2001), dimensional world where theobjectsandpeople are two- each originaldrawing. of thankstothecomplicated repositioning pattern, graphic water-based simple actionbecomesacomplex ink.This hopping round the screen; the art wasthendefined using doscope. Greaves animated thefilmasasingle character akalei- of background, following andgraphic thepattern blue on a white background and thenin white on a blue continuously,stylized rabbit that multiplies in first itself through filmisagoodcolourplay awastebasket.The in red. it goeswild,becomesthree-dimensional, andrunsaway harassmentandmanipulationsuffers by itscreator. Then astory.that cancompletely change one’s perception of regards thesoundtrack asvery importantandasanelement from thepast,which heseesasrelevant tothepresent. He reality withfantasy. Heoftenrevivesthe collisionof ideas with Nigel Pay. and Hismainthemesare metamorphosis year hefounded hisown Londonstudio, Tandem Films, worked asafreelancer for several studios, but inthe same study animation in1980.From andhegraduated 1986,he Artto went totheWestOctober 1959) Surrey Collegeof In 1977,DanielGreaves (b. Woburn-Buckingham, 1 Daniel Greaves and Tandem Films n te ebro StudioAKAisKristianAndrews. One othermemberof In 2008,Crastemadeathirty-minute filminCGI, In 1997Greaves madeFlatWorld , aboutathree- Rabbit Rabbit (1995),madeby Tandem Films, shows a Manipulation (1991)won an Oscar. drawn figure A small Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 adult audiences. home for animation independent filmmakingaimed at Yadin. They established Halo Productions asacreative andanimationwith thedocumentary producer Orly After studying animation filmmaking, shejoined forces France asavisualartistandmoved totheUKin1989. foundedSylvie Bringas Animus Film.Shetrainedin Animus Film robot, bothalone, exploited by grown-ups. neglectful boyunlikely friendshipbetween andasmall anorphan quality. hiker’s GuidetotheGalaxy(2004). Hitch- and visualanimated effects for such filmsas The adverts for clientsincludingNike, NatWest, andOrange, ing Radiohead,Coldplay, Beck,andBlur. They alsomade works andmusic videosfor Britishmusic bands, includ- Shynola ArtandDesign.The group madevideoart of ard Kenworthy, andJason Groves allmetat Kent Institute Gideon Baws (who diedin2008),ChrisHarding, Rich- in1994. agroup formed Shynola isthecollective nameof Shynola world but still lives withhisoldandoppressive mother. anevil littlemanwho hasdesignson the whole of the story and Jason andBaddy IsaacsmadetheseriesMummy .Ittells BAFTA award thefollowing year. Alsoin2007,Dunleavy touchy, stinkingloungecat. minute filmsin a simpleandendearingstyleabouta very five- directed theseries Simon’s Cat(2007),consistingof lady, beingtaken.SimonTofield who hasnointentionof Death toEarth take away comesin person a very old and recent works. minutes. human evolution in two and a half of tells the story Suzie Templeton andChrisGavin. Gavin’s (2006) filmEvo many talentedanimatorsamongitscollaborators, including Pay in1986,isnow basedinIslingtonLondon.Itcounts way. life, presented inanunusual animals. Itisthecircle of Chineseboxes that contain flowers, fruits, letters, and of and End (2005) mixed live-action and 2D in a poetic play humanfoolishness, each toldbriefly. Middleof Beginning, hymd nyafwsot,btteewr fgreat They madeonly afewshorts, but thesewere of John Dunleavy’s Technical debut, The Hitch (2007), won a Ignacio Ferrera in2002. toCopewithDeath directed How TandemFollowing Films’mainanimators are someof TandemThe Filmsstudio, cofounded by Greaves and The LittlestRobo(1999),for example,The isaboutthe death, style. withanironic graphic aftertasteandagaunt love andpassion,betrayal and of film,itisastory porn madeHisPassionategas Bridein2004.Ananimated soft- Monsters (2005),alive-action film. music. With Morganaswriter-director, produced Bringas consequences. Thereisnodialogue, onlysoundeffectsand Siamese twinswho are separated,andtheextraordinary two computer animation andpuppets, of itisthestory (2003), anotherfilm by Robert Morgan.Madewith3D kittens. in thewoods with abagfullof andachild walking tell apoetictaleaboutgrandmother Itusedpencilonpaperand2Danimation to ary 1963). by Italiananimator LianaDognini(b. Milan,26Janu- Morgan, aboutacat slowly becominghuman. which waswritten,directed, andanimated by Robert , CatwithHands and girlfriend. In 2001,sheproduced The breath travelling through the world to reach his mother ten anddirected by AlejandraJimenez,aboutaman’s last grandmother. teenage terrorist, hissufferingmother, andhis indomitable edy animation series and white; later, appear. colours concentration camp.) Atthestart,animation isblack Tana Ross, aJewish woman who wasachild inTerezin come only when shared. (It is based on the true case of to talkaboutwhat hashappened; thepaincanbeover traumatic experience duringWorld War II.Butsheneeds aJewish girl who must hersilenceabout keep of story animationdocumentary Silencefor Channel4.Itisthe al gis h orr fwar that change aperson of thehorrors cally against filmrailspoeti- war changed The intoanotherperson. she loves, afancifulandpassionate acrobat, from returns Janácˇek, awoman theshortdepicts watching astheman colour onpaper, andinspired by theSinfonietta by Leoš prizes, including aSilver HugoinChicago. Usingwater to befundedby theNational Lottery. Itreceived many Oyster Productions inLondon. 1989, withfellow animator GedHaney, shesetupPearly itstime. In animated shortMadamePotatoe, acultfilmof In 1983,EmmaCalder(b. London,7May 1959) madethe Pearly Oyster In collaboration with animator Monika Forsberg, Brin- At Animus produced Film, Bringas In thesameyear, produced Bringas Bye Bye , created War, writ- producedIn 1998,Bringas Andares inTimeof At Halo, andOrly Bringas alsocoproduced thecom- In 1997they wrote, directed, andproduced theshort The Queen’sThe animated (1998)wasthefirst film Monastery Great Britain: The WonderfulChapter 3:Great Britain: Years Treasure (1999)for BBC2.Itinvolves a Separation The

89 - - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 hog iymd fprintpaper. through acitymadeof andbeginswalking abookonshelf man comesoutof A paper thepublisher 4thEstate. of fifth anniversary WeWhere (2009)isacommercial Live madefor thetwenty- brands andproduced Is animation specialeffects. This mators worked for DreamWorks. itsani- the feature filmBalto(1995).Afterwards, many of studioclosedafterthemakingof lin Entertainment.The mation productions, inassociation withSpielberg’s Amb- founded by Steven Spielberg, dealtwithbigAmerican ani- Amblimation, abigstudioactive from 1991to1995and Other London-BasedStudios 90 23 from anovel by bestsellingauthorTerry Pratchett. an adventure serialaboutsmallpeoplecalled‘Nomes’, an initialTVanimated feature in1983)andTruckers (1991), (1984–1987, following Wind in the Willows The versions of shows for olderviewers. For example, there were puppet dren’s fare such (1976–1979)and asChorlton andtheWheelies the puppetside, thestudio’s seriesincluded young chil - duck andhistowering castleservants, IgorandNanny. On sophisticated comedy aboutaneurotic, vegetarian vampire the world. CountDuckula (1988–1993)wasaperhapsmore comedy seriesaboutamousesecret agentwho protects series wasDangerMouse(1981–1992),ahilariousaction- Hall, directorsandproducers. studio’s The mostfamous tion. Itwasfounded in1976by BrianCosgrove andMark anima- ductive European studios, dealingwithevery kindof andmostpro thebiggest - Cosgrove HallFilmswasoneof In Manchester Great BritishBlack Invasion(2006). animation sequencesforThe theChannel 4documentary mixed ina masterful way. Emma Calder also made the inside.deep Memories, fantasies, obsessions, andguilt are h e Dvrino Fireman Sam(2003–2005). the new3Dversion of Tom that lives inSpringhillFarm withmany friends;and Tractor Tom (2003),achildren’s seriesaboutatruckcalled 40-year-old by manpersecuted his children andex-wife; (2000), anirreverent cartoonaboutEricFreeble, astressed cus, central London, produced such series as By LauraBuono.

Hibbert andRalph Studios, basedinOxford Cir Asylum Filmworked incommercials for many famous Chapter 3:Ireland Stressed Eric - entrepreneur Francis Fitzpatrick. led by Hall’s son Simon, withinvestment from theIrish relaunched asCosgrove HallFitzpatrick Entertainment, drawings withCGItextures. alittleboy,the zany adventures of combinedtraditional Woodland Animations).comedy The Albie(2004),about Pat (1998) inclay animation, LittleRobot (2003),andPostman realized for themostpartin3Dandcomputer graphics. produced by BBCWales. so smallhecanbeputinapocket;andTelly Tales (2008), live-action, screen, CGI,andgreen aboutagrandpa of projects includedGrandpa inMyPocket (2009),amixture series illustratingrhymes nursery anddoggerel.Other commissioned byValley S4CtomakeHappy , apreschool action films, TV, In2009,thestudiowas andtheInternet. 3D animation as well asCGIandspecialeffects for live- Dinamo Productions, founded in2004,dealtwith2Dand In Cardiff nomic growth, which beingnicknamed ledtothecountry tothinkbig andspendlittle.neurs tion studiosworldwide andallowed indigenousentrepre- digital technology, anima- which caused thedownsizing of lin downsized. Allthiscoincidedwiththeintroduction of Emerald City closed soon after, and Fred Films Dub- Wolf (1989)andRock-a-Doodleto Heaven (1991).In1995,itclosed. of its features AllDogsGo after thepoorbox-office returns in financial difficulty Sullivan Bluth Studio found itself Ireland culture, andlocalstoriestoawideaudience. studio’sScotland. The aimistopromote Gaeliclanguage, West HighlandAnimation in1988,basedPerthshire, producerThe anddirector LeslieMacKenzie established Scotland Cosgrove Hallwasclosedby ITVin2009.Later, itwas Cosgrove Hall’s andtheDodos later seriesincludedRocky Griffilms Studiodealswithoriginalniche productions, These eventsThese alsocoincidedwithIreland’s rapideco- (04 eso facharacter previously animated by (2004,aversion of 23 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 tl ml.Telgc fSullivan BluthStudioinfluenced of legacy still small.The develop theirown projects. grow andgave animators opportunities to independent 1990s andthe2000s. Such fundinghelpedthe industry investing innewandestablished talentthrough thelate theanimation industry, developingmous supporterof and development funding. IrishFilmBoard The wasanenor animated features andTVseries, through production and euros annually inIrish-driven invested upto1.2 million four years. Aswell asschemes for shorts, theagencyalso working opened in 2000 and ran for in this digital format, madetoencouragenewanimators animation. Irish Flash, ing OscailtandShortShorts, opentobothlive-action and 1980 (published at http://www.irishstatutebook.ie/1980/en/act/pub/0036/index.html). iheto teefsiasecuae h pedo aiainoe h onr n h iclto fIrishanimation internationally. animation over andthecirculation thecountry of thesefestivals encouragedthespread of lishment of the Darklight Festival was set up in Dublin; it ran an animation prize, as did Derry’s Foyle Film Festival Ireland. estab- The in Northern For three years (1994–1996), Steve Woods and Cathal Gaffney ran an Animation Festival in Dublin from the Irish Film Centre. In 1999, Irishanimators. in 1989,which includedthefirst-ever meeting of features. –whose cofounder Galway (Steve The FilmFleadh Woods) worked inanimationIrishAnimation –stagedthefirst Retrospective tion inthecountry. anima- independent ing thegrowth anddevelopment of Gaffney, established theAnamú Animation Base, promot- and animation students, ledby Steve Woods andCathal aid toanimation. However, animators in1991,agroup of 28 27 26 25 24 1993. IrishFilmBoard The in thanks tothereestablishment of big studiosstartedtobefilled by brand-new ones. leftby itswealthiest. gap The the countries becameoneof Europe’sthe CelticTiger. poorest What hadbeenoneof projects –soitsucceededinitsaim. animation festivals at theIrishFilmInstitute. Anamú were endedin1996becausethemembers toobusy developingyears theirown of way Film Fleadh, theoldestanimation festival inIreland.way FilmFleadh, animated shorts. shortswere These launched at theGal- of Frameworks andwasanannual money award for aselection tuted anewfundingscheme for animation. Itwascalled Ireland FilmCouncil,insti- association with theNorthern system toincludeanimation. the newfilm board, and eventually it extended itsfunding ini ae rmitriw ihfre ies h pa faccidents, hard underground work, and death. miners,tion istakenfrom who speakof interviews withformer and his works are To an unhappy love narrated by story Forget a child in metaphysical devastated (1992), an oneiric scenery telling of by war; The IFB was first established IFB was first in1981 onlylasteduntil1987.Itwas The reestablishedbut thisincarnation in1993undertheFilmBoard Act nm lopbihdadrcoyo freelance animators andsmallstudiossponsored two shortanimations withRTÉ.Anamú alsopublished Itranthree adirectoryof i unoee i tdoi 97 i o ai ondtesui n18 sa nmtraddrco fpuppetTVseries. Among Jim Quinopenedhisstudioin1977. His sonDavid joinedthestudioin1984asananimator and director of ti lowrhpitn u h oeo festivals inIreland. Cork Festival The International oftenprogrammed shortanimations beforeIt isalsoworth pointingouttherole of Darragh O’Connell, personal communication O’Connell,personal Darragh with LauraBuono, 7October 2009. ept l fthis, was–comparatively theindustry – Despite allof Frameworks wasfollowed by similarschemes includ- Animated auteurshortsalsogotunderway, mostly In 1996,thefilmboard, RTÉ, andtheArts Council,in T’was aTerrible from miners theSlieveardagh Hard Work coal fields.- Itsnarra (2008),ananimated describingthelifeof documentary 24 The board’s The initialpolicydidn’t includefinancial 25 Anamú andothergroups lobbied 26 - tor Jason the Tammemägi (b. London,1974),creator of studio’slost inthe desert. The staff included creative direc- Darragh’s theirwork is Matthew the animation. One example of series worldwide, andMonsterAnimation, which creates Monster Distributes, which financesanddistributes TV O’Rourke andAndrew Fitzpatrick. In1997,itsplitinto studio untilitfolded in2008. (Denmark). Terraglyphwith A Film wasIreland’s largest with EstudiosMoro (Spain),andHelp!I’maFish(2001) (2000)withMillimages(France),Carnivalé Duck (2000) Ugly eral feature filmswithEuropean companies;they included (both by DonBluthalumni).Terraglyph coproduced sev - including MonsterProduction andTerraglyph Animation ing television series. Slowly, newcompanieswere setup, Films remained active inthemid-1990s, mostlyproduc- and writers’, beinggoodstorytellers which‘a smallcountry of hasahistory adaptations. literary O’Connellputit,Ireland AsDarragh is Beara’). Allwere fundedby theIFB. Therewere alsoseveral Naomi Wilson’s example, Irishanimation. of register isprobably thestrength continualThis change of tional clientsanddeveloped originalprojects inparallel. United States. Many studiosproduced- seriesfor interna Irish animation, asdidthecountry’s historictiewiththe Among thelarge studios, QuinFilms Studios Monster Production wasfounded in1995by Gerard It often focused onIreland’s national pastand folklore –for h erto Kells,Steve Woods’ Ireland 1848,and Secret of The (2006),aboutadeliriousfridgethat gets Pilgrim 27 andthisisreflected initsanimation. (TeOdWmno Old Woman (‘The An Cailleach Bhéarra of Chapter 3:Ireland 28 andFred Wolf

91 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 made successfulTVseriessuch asCat Little’s Wobbly withcommercials studiobegan thenexpandedThe and O’Connell (b. Dublin, 1972) founded Brown Bag Films. obstacles for travellers usingit. the latter abouttheIrishtransportsystemanddaily directed theshortsDublin Yet 1(2004)andNotThere (2004), series centre. Derry, Ireland’s inNorthern interactive multimedia arts 3Danddroll flat animation. made inamixof Beauty, Sleeping Nicky Phelan.Itisacomicversion of was nominated: Granny O’Grimm’s Beauty(2008),by Sleeping Award in2002.In2009anotherBrown Bagproduction ing speech, andthefilmwasnominated for anAcademy thevisualssuitschild’s amus- childishThe styleof theJohn theBaptist story.little girl give herown version of style, complete with wobbly camera moves, thefilmhas a aid.Animated inadocumentary teacher asalearning children reading Bible stories, madeby a recordings of directed by Cathal Gaffney. 1960s Itoriginated in a setof O’Connell’s Olivia(2008). land (2005),NickyPhelan’s (2007),andDarragh CrapRap of 1970s Northern Ireland. 1970sNorthern of for anordinaryfamilybecomesthepretext for adepiction he directed Guns, BeesandTadpoles inwhich asummerday memories, recalling inherchildhood. anepisode In2009 intoanoldwoman’s journey ametamorphic ings depict tion. Madeallinblack-on-white, theraw, exquisite draw- nominated for aBAFTA in2008,withtraditionalanima- the moon.In2007McCloskey directed 3D dreamlike about a little girl story who is enchanted by and gives itasuggestive dark outlook.Loocymoon(2006)isa minute featurette that takesanancientIrishghostlegend to exorcize it. nightmare atmosphere mixed withirony, ridiculingdeath culturalmoodina short rendersthenineteenth-century ings photocopiedonsugar-paper andthencoloured. The theDanseMacabre by SaintSaëns, withdraw - pretation of 1964). His first film,MidnightDance(1997),isavisualinter 1964). Hisfirst series, plusexcellent shortsby John McCloskey (b. Derry, rigt aneog obytearcniindcro hisdreams. enough tobuy theair-conditioned toearn trying carof aBombay taxidriver who is 2007, Joel OKPlease.Itshows anoisyandrestless Simondirected day thehumorous inthelifeof shortHorn studioproducedThe commercials, (2008),mixingvarious shorts, styles andtechniques. andanimation series, In This includingDaysLike 92 29 Another studio based in Northern Ireland was Flickerpix Animations, established in2003by Ireland wasFlickerpix JoelAnother studiobasedinNorthern Simon(b. Malmédy, Belgium, 1975).

In 1994,Cathal Gaffney (b. Dublin, 1970)andDarragh Raw Nerve Productions wasestablished in1995 In 2001Brown upYer BagmadetheshortGive Aul’Sins, The King’sIn 2000,McCloskey directed The Wake, a30- Chapter 3:Ireland Fluffy Gardens (2006)andBallybraddan (2008).Healso 29 The studioproduced The live-action andanimation , Crumblegiant The - - srp fgreat beauty. monkinitiates The theladinto uscript of Aidan, a master illuminator, one day appears with a man- and likestospendhisdays inthescriptorium.Brother twelve-year-old who lives orphan intheKells monastery filmimaginativelyThe retells itscreation. Brendan isa ing theGospelsthat isIreland’s mostfamoushandiwork. beautifulilluminatedan amazingly manuscript contain- film onsomethingsignificantinIrishart. that Moore had since his college days to base an animated and directed with NoraTwomey, camefrom anambition project, . Kells The developed feature, Secrethis first of The to (2001) andCouch Potato (2004),before devoting himself feature productions. Hedirected two shorts, Dress Rehearsal pendent andworked asananimator onTVseriesand commercials for such clientsasCadbury andIrishInde- thestudio’s productions: hedirected worked onmostof in1977.Afterfoundingin Newry CartoonSaloon,he his father many years afterhisparents’ divorce. (b. who visits Besançon,France, 1983),aboutayoung wolf dio madetheshortOldFangs, directed by AdrienMérigeau codirected by Moore and Nora Twomey. In 2009 the stu- Kells, Secret of ate animated thefirst Irishfeature film,The France 2 Cinéma (France), and Vivi Film (Belgium) to cre- Irishfolk songs. 2009), areinterpretation of theSong’, and thebeautifulAnamanAmhráin (‘Soulof Fu! (2006), broadcast in more than one hundred countries, high-quality commercials, films, andseriessuch asSkunk dio inKilkenny, southeastIreland.studioproduced The mal partnership. intotheCartoonSaloonstu- grew This young animatorsandstartedaninfor together agroup of Kells, 2009. Figure 3.7 h oko Kells, Bookof Kellsderives itstitlefrom The Secret of The A comic artist and illustrator, Tomm Moore was born In 2009,thestudiocollaborated withLesArmateurs, In 1999,Tomm Moore andPaul Young brought

Tomm Moore andNoraTwomey, Secret of The - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 History andNationalCinemaStudiesinIrishFilm2,FourHistory CourtsPress, Dublin, 2005,p. 86. 33 32 31 30 Connolly observed brated among Irish communities all over the world. Maeve Tralee competition,cele- Rosefun at theinternational of such elementsmakethefilm at oncepowerful anddelicate. thebody; touching passageportraying theregeneration of poetic, wordless filmhasasuperbopeningsequenceand liferegenerate her.young man’s The pityandhisbreath of The dreadful toalonelyfisherman. skeleton andappears a of intheform castintotheseareturns tale. A woman generated backgrounds. plotisfrom The anInuit folk blending traditional hand-drawn figures with computer- Saloon. In2002,shedirectedshort,From herfirst Darkness, Cartoon thefoundingof members Kells,wasoneof of festivals. and audienceawards at theAnnecyandEdinburgh film public, receiving anAcademy Award nomination in2010 movieKíla. The wasapplauded by thecriticsand from French composer BrunoCoulaisandIrishfolk band ours, intricate lines, andpatterns, withanaptsoundtrack (France), andWDR/ARD (Germany). articles/2d/moore-illuminates-secret-kells. outer lines’. thicker effectof planned toobtain‘the“stainedglass” colour’; even the clean up was deliberately tive and lots of melded withthewhole visualstyle, ‘flat- withfalseperspec ney stylebut went through aprogressive simplification. It ter animation.latter The wasoriginallyplannedinaDis- by the art director, the painter Ross Stewart, to the charac- art –from themasterly backgrounds created andoverseen friend andavitalally. also helpedby girl thefairy Aisling, who becomeshisbest ent, andchargesThe boy himwithfinishingthebook. is illumination, thusfindingBrendan’s real tal- the artof A coproduction between Animaker(Finland),A Film (Denmark), andUlysses(Germany). A coproduction between A Film (Denmark), Futurikon(France),A coproduction incollaboration between withTV2(Denmark), A Film andUlysses(Germany) M6 Maeve Connolly, IrishAnimation: ‘Theorizing Heritage, andCriticalPractice’,in John Enterprise HillandJohn Rockett, eds, Film ilDswt,‘or luiae TeSce fKells” Bill Desowitz, ‘Moore Illuminates Secret “The of Made asafakecommercial, CelticMaidens(2004)pokes Secret Nora Twomey The (b. Cork, 1971),codirector of The overallThe styleisinspired by Celticandmedieval Irish evoking an array of cinematic and photographic texts, cinematic andphotographic evoking anarrayof ing sequenceemploys landscapeimagery, photographic caricature, celanimation andgraphic but theopen- of of Much femininepurityandruralidentity[. . .] gration, Irishemi- enduringmyths concerning gence for asetof conver identifies itas a pointof Celtic Maidens sharply Celtic Maidensischaracterized by thelinearaesthetic 30 Tefl sabatflsceso fcol- filmisabeautifulsuccessionof The

,ancm atmdfe 5Dcme 2009, http://www ’, awn.com, last modified 15December - , Me Duckling & Ugly well. In2003it coproduced The and thecomedy anddramaare well mixed. short blends various techniques tocreate different textures byaccepted otherpeopleand,above all,by hisfather. The Irish. A boy, withhisheadbackwards, born managestobe Jackie MacDonacha andisentirely spokenin short taleof Niko & the Waylowed by to the Stars 2008’s. Niko & as ahostageinBeirut,itwasnarratedby Keenan himself. Foran. hisexperience BasedonBrianKeenan’s accountof film, a commissionfrom theIrishFilmBoard tomakehisfirst some award-winning shorts. In1998Kavanagh received cials andchildren’s television seriesinadditiontocreating most prolific companiesinIreland,commer engaging the Kavanagh (b. Dublin, 1973).Itwould become one of O’Flanagan’s CartedeVisite(2006). Mick O’Sullivan’s amusing BarberShop(2005)andPaul Emmy Award. studioalsoproduced The shorts, such as (2004), directed by Robert Cullenandnominated for an US channels, such asFoster’s Friends Homefor Imaginary both directed abroad by theDanishMichael Hegner. events that willeventually break themechanical efficiency. error setsoffa chain of the samebowler hat. A random jigsaws allwearing cal individualsdrawn ashundreds of set in a perfectly organized world populated by identi- tale abouttheindividualversus themasses. shortis The bining figurative andabstractapproaches. the‘Hell’sequenceisremarkable, com- beginningof The through crude, raw drawings andexpressionistic colours. thoughts, creating acolourful,changeable mentaluniverse tosanity. returning animation The follows hisstream of ney intheprisoner’s mind,spirallingintomadnessbefore Magma Films, inGalway, focused onfeature filmsas Cúilín Dualach (‘Backward Boy’, 2004)isbasedona The filmusesan The extract aboutan extreme innerjour Kavaleer Productions wasfounded andledby Andrew Boulder MediainDublin provided TVseriesfor The Milliner,anallegorical In 2000Kavanagh directed The Hillen. Sean John Hindeandphotomontagepastiches of of from From anEvilCradling (1999),codirected by Keith The Quiet Man (JohnThe Ford, 1952) to the postcards 31 Chapter 3:Ireland 33 They were .awn.com/ 32

fol 93 - - - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 History andNationalCinemaStudiesinIrishFilm2,FourHistory CourtsPress, Dublin, 2005,p. 83. andNational CinemaStudiesinIrishFilm2,FourHistory CourtsPress, Dublin, 2005,p. 88. the short–compared toJirˇí Trnka’s Hand The René andCharlie Magritte Chaplin’s Times, filmModern of Drawing onsuch diverse sources asthesurrealistpaintings gis h eilo his status asapoliticalprisoner. thedenialof against prisonlifeandtoprotest theworld andpoet, toinform abouttheinhumaneconditionsof During hisdetention hewrote asajournalist Long Kesh prison,where many Irishnationalists were detained.Here hedied onhungerstrikein1981. hislifeintheH-Blocksof years of an attack for which hewas never actually proven guilty, accusedof afirearm, Bobby(IRA). Jailed for Sandsspentthelast possessionof 94 37 36 35 34 dio. Sheanimated anddirected ColourContamination(2008) together create adreamy, handmadelook. tinfoil, animation, paintonglass andSuper8film footage materials and elements – cardboard, combines a range of latter1985). The isawittytalemadeincut-outstyle. It (2008)bydile andtheNightSky Pádraig Fagan (b. Dublin, animated inafresh, naive Rooster, style, andThe theCroco - are Among the high-quality shorts by its young animators O’Donoghue. experimentalist Barry dio underthecare of thisextraordinary lad. of case, we meethisfamily ordinary live-action Dublin family. Retracing Roy’s unique aboutananimated inan ious fake-documentary boy born Drawn Roy (2005) series is as an wellingen- as a short. Badly Cumberton. Hedirected andanimated commercials and JAM Media with John Rice (b. Kerry, 1971)andMark maxing inapoeticending. realscenarios, shortdepicts andimaginary cli- 2003. The novelist andaPalestinian artistwho metinNewYork in an Israeli delicate aboutthepassionate story friendshipof children’s). It’s book(alsocalledHasanEverywhere amoving, adapts itsanimation from HasanHourani’s illustrated Exile’sarticle ‘The Return’ by DoritRabinyan andpartly drawing suitthefine andsymboliccolours characterization. until hisartisticmuse rescuesessential,elegant him.The wings, but even inhismindhe’s imprisonedby dark forces book. Inhisdreams, hisspirittriestoflyoffonbook-leaf awriter whoonhisnote- fallsasleep the troubled dreams of by theEnglish/Polish Andrzej Klimowski.shortshows The that change, however improbable, canhappen. It isactuallyShannon’s appearingasRoy’s family, brother. withtheauthor himself Robert Gerard Sands, commonlyknown asBobby Sands(9March 1954–5 May 1981), was a volunteer intheIrishRepublican Army Maeve Connolly, IrishAnimation: ‘Theorizing Heritage, andCriticalPractice’,in John Enterprise HillandJohn Rockett, eds, Film Maeve Connolly, IrishAnimation: ‘Theorizing Heritage, andCriticalPractice’,inJohn Enterprise HillandJohn Rockett, eds, Film

In 2007,LouiseBagnall(b. Dublin, 1985)joinedthestu- Barley Films, setupinDublin in2002,isasmallstu- In 2002, Alan Shannon (b. Dublin, 1972) co-founded (2009)basesitsnarrative styleonthe Hasan Everywhere (2003)isinspired by the1994visualnovel Depository The The RedBall(2008)by AlanHolly(b.The Dublin, 1981), Chapter 3:Ireland 35 and learn abouttheordinarylife andlearn 34 – reaffirms –reaffirms Irish HungerStrike. Bobby Sands, who diedinprisonduringthe writings of cinema andphotography reflect theself-reflexive medium. references. The toearly lished intheIllustrated London News theGreat Famine, such asthosepub- refer toillustrations of photos cinema.The a camera,forty years before thebirthof through betweengration 1845and1852.Itispresented asif massstarvation, disease,Great andemi- Famine, aperiodof used animation for criticismanddenunciation. children’s short for children, the Ticket . After that, Timmy he ming animation festivals. In1994,heproduced hissecond animation’s profile, andprogram- working asajournalist art.Hebecameinvolved inraisingIrish of see itasaform festival, he changed his view aboutanimation and cameto Oíche Sí (‘A Fairy Night’,1989).After a visit to theAnnecy series for RTÉ, which includedhisfirst children’s short, Drogheda, creating 1955).Hebegan aSaturday morning Irish animatorswas Steve the first Woods (b. One of Independents inacolourfulworld, (2009). his worstfears andDonkey portraying awhite, clean-cutbusinessman who must face Figure 3.8 In 1998,Steve Woods, basedonthe directed Window Ireland aboutIreland’s 1848(1996)isadocumentary

Andrew Kavanagh, HasanEv 37 The first partismade, first The likeIreland , 2009. erywhere Ireland 36 PB Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 bach (b. Germany, Dernbach, 1962)startedmakingfilms style. uses crayons(2005) again onpaper, inabeautifully naive with apowerful, high-contrast,stylized stroke. Fairy Wind WomanSkeleton anInuit (2003)reinterprets tale, animated aCentralAmericancreation myth. hearted retelling of hiscat. his lifetothat of fancy; his poetic imagination compares inspire flights of copying manuscripts but working theharsh conditions is takenfrom anearly spendshisday Irishpoem.A monk Bán (‘WhiteFuller’,1999),madewithcrayons onpaper, and legends. Orpheus(1998)retells theGreek myth. Pangur words andhomagesFrédéric Back’s animations. in thebird’s tosurvive. struggle istoldwithout story The New Year’s oldmanseeshislifereflected night.A lonely on thirst abird dyingtraditional Irishsongthat of mourns directed ArtandDesign.In1993sheMariaMurray lege of studied filmandanimation at theDunLaoghaire Col- painter, musician, andcomic-stripartist. After makingthesefilms, Boothleftanimation to work asa StrangelyStrange. byand performed Booth’s band,Dr . Bothfilmshad towriteUlysses music composed struggles James Joyce,is anirreverent caricature of dealingwith his theIrishpoetW.the lifeandwork of B. Yeats. (1997) Ulys covered Prisoner,alookat animation. In1983hemadeThe thiswork dis- of painter anddesignerinthecourse genocide. during theArmenian Solomon’s family who wasresponsible for themurder of Tellirian. In1921inBerlin, heshotaTurkish diplomat, for freedom. childish drawing, the inner world rising from his yearning cel animation todescribe, through almostachromatic and theshortusestraditional with hisexcrement. rest The of shows politicalprotest, hispersonal writingonthewall theprotests echo intheprisoner’s headwhile he yells of agony, extradiegetic sounds. The highlightedby theuseof restless the prisoner’s cruelreality –anatmosphere of by pastelsandshotunderarostrum camera.Itdescribes tocopied tohighcontrastinblack andwhite thencoloured stills, photographic pho- 1848, through theanimation of 38 Stefanie Dinkelbach, communication personal toLauraBuono, 29December 2009. Another German woman in Ireland, Stefanie Dinkel- Another German isalight - (2001,madewithoilonglass), ItAllBegan How made manyPieperhoff adaptations literary from myths inDuisburg,Born Germany, in1969,EdithPieperhoff Timothy Booth(b. Dublin, acareer 1943)began asa Solomon thetrialof Solomon(2002)depicts TrialThe of (‘The YellowAn BonnánBuí(‘The Bittern’), basedona music for all the shorts. Studio inWest Clare, withDoyle providing soundand her films. In1999,sheandBrianDoyle setupLoophead years inNewYork, produce toindependently shereturned ArtandDesigninDublin. Afterspendingten College of Irish accents. stereotype, spokeninextremelywithstrong English vulgar the Irish thesefilms reinterpret man meetingakiller. Allof Murphy (2006)isanabsurd,aboutadead hilariousstory Frames, earthiness, hell,black humour, andverbal brutality. down-to- ruralIrishlife:superstition, many elementsof Stoisis, Ireland’s punk-folkThe stories combine first band. bers, CiaranMcGinley andFrank Murphy, who madeup andhisfellow bandmem- himself theexploits of concern by PucaRyder, anoldIrishmusician inhislastdays. They talestold Both theshortandseriesare eclecticmixes of itintoasix-partseriesscreened in2009. (2002), thenturned terkenny, 1967)directedby Donegal, PullintheDevil Tail key element. resultMessiaen. The israther abstract,withmusic asthe Olivier aspirittoheaven, accompaniedby themusic of of Barre’s Cathedralfilm organ.The represents theascent Fin Cork St adancerissuperimposed with shotsof of guage withtheblack andwhite Joy In 2005,Dinkelbach moved intomore experimental lan- an artistat atime when thisrole wasrestricted tomen. Cork inthe1930s. A woman courageouslylives thelifeof thepoet andnovelist Patrick Galvin,issetin of memoirs the evocative, enigmatic atmosphere. model animation cutouts enhance and cutout. The mix of shadows,black a andwhite, itusessuggestive weaves of a messengersentby adying emperor. Completelyshotin on aFranz story, Kafka of dealswiththeendlessjourney latter, (1997).The ImperialMessage (1994), andThe based Rules(1994),Hurry-Hurry directed theshortsGameof ’. her‘otherself tial of her everyday life to discover the poten- woman out of steps to need a storyline andasoundtrack’. to needastoryline rative sculpturalwork developing I was at thetimestarted Areshort,developed (1991)isherfirst ‘when thefigu- They Think They after studying ceramicsinCardiff. NicerThan Naomi Wilson (b. Dublin, 1965)studiedat theNational In 2005,McCollumdirected amusic video for The Ireland,McCollum(b. Stephen Based inNorthern Let- fromAunt Bridget(2003),basedonastory thechildhood In 1993 Dinkelbach moved to Ireland, where she Fake , again withPucaRyder, again asprotagonist. Dead . A live-action sequence Chapter 3:Ireland 38 Inthisfilm,a

95

Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 96 lin. In1996,he directed Mutt,looselybasedon thetrue sented Lucifer. prickly sarcastic andbitterstyle, withanamusingly repre- God creating humans. latter The short is in Bresnishan’s Collectorand,in2004,God’s terfly Early Work, aperttaleof escaped orangutan. nist isamaniac,zookeeperobsessed with catching his humour. Likemany Bresnihan characters, theprotago- of Mafioso-style films with an acute sense of , a spoof Ape beinghuman.In2001,Bresnihan directed dog dreams of style, it’s aboutthedesire tobesomeoneelse:analcoholic Aardman’s Wallaceof andGromit. Animated inthesame toIreland todirectHe thenreturned hisown projects. projects such asChickenRunandTimBurton’s CorpseBride. Animation (UK)andtrainedunderNickPark, working on (1996),hewashired Chameleon by Aardman The success of memories. of theman’s city ryday objectsclimaxwiththeunfolding of eve- juxtapositionsof andincongruous Surreal imagery and music, delicatelyanoldman’s depicting memories. different moods, objects, puter animation. Itisacollageof which usedbothaphysical modeland2D3Dcom- shortfilm,BlindMan’s2008. In2007,hemadehisfirst Eye, Digital Ireland in 2005andGlimpseDigitalCanada excellent andthefilmenchanting. myth. pixilated The animation is archetypal languageof the lifejuxtaposedagainst contemporary ing elementsof film gives apoetictreatment totheancienttale, introduc- scape, thechanging seasons, andthesea.The thestorms, Celtic folklore, animmortalwoman linkedtotheland- Cailleach. Sheisafigure of is basedonthelegendsof fisherman. the land and sea, and the film’s soundtrack includes a local life’s passion.Itwasmadewithsand,amaterial between seals, his son’sgroup childhood, whenseesa of hefirst Thom- asignificant momentin son (1914–1988).Ittellsof book the autobiographical around. is basedonafolk-tale aboutafox who outwitseveryone Ireland’s west coast.RehyFox (2002),drawn onsand, of dio’s location intheLoopHeadpeninsula,aremote part Ocean, andIrishfolklore. They are allinspired by thestu- theAtlantic and nature, thepresence and power of

Damien O’Connor (b. London,1972)studied inDub- But- In 2003,Bresnihan madetheblack-humoured The Guy’s Dog (1998)lookslikeanirreverent interpretation Rory inDublin in1974.Afterthe Bresnihan wasborn Matthew Talbot-Kelly (b. Dublin, 1963) started Glimpse Beara’,2007) OldWoman (‘The An Cailleach Bhéarra of Wilson hasrecurringthemes:tensionsbetween man Chapter 3:Ireland (05 sbsdo h pnn fAmong Strangers (2005) is basedonthe opening of epeo theSeaby David- Thom People of synesthesia. shapes, sounds, creates andcolours innerresonance and lightanddark, and abstract world. combination The of wingsinmovement, creating ahypnotic isof pattern , in 2002, using 2D and 2D software.terfly Its dominant (b. commissionedshort,But- Belfast,1973)madehisfirst (2006). Chocolatiers mercials, includingEinstein(2006)andThorntons awards. Later, he directed several award-winning com- exemplified Robinson’s brillianttimingand won several campaign Canada.The Milk, madefor themilk board of and amused at once. even heaven is a widescreen TV. spectator The is dazed spatial andtemporalcoordinates, where verse devoid of effectively putsusinthe character’s shoes, wakinginauni- humour,of histime. thefilm He reflects Robinson’s view won anAcademy Award nomination. With aparadoxical gets lostinahouseandfacesabsurd, grotesque situations. Dame Street (1999),adark andgloomy story. An investigator Houseon Design inDublin. filmwasThe Hisgraduation Artand visual communications at theNational Collegeof about aboy andhispetturtle. childish animation stylefor acrudelyhumorous story to the nightmare scenario. Dick Terrapin (2005) uses a more black andwhite, rough-sketched drawings give quaintness stray dogintohishouse;thisactionwillcauseruin.The Diaboliques. Spied through an eyehole, an old man takes a inspired by HenriGeorges Clouzot’s live-action film,Les while lookingafterhissickmother. LeDog(2001)was a small boy who finds his younger brother’s body of story in Conversation (2008). cials, aswell asamusic video for theband Sickboy, Silence expression. Hemadeseveral videoclipsandcommer of reality, continually exploring newtechnologies andforms backgrounds. Hisstylecombines flat drawings withfilmed drawings and real two animated caterpillars, with a mix of Cocchiglia. In2005hedirected Changes,anironic of story Productions (2004)withSteven Courtney andBrunella (2009),andvarious applications forthe Sky Apple’s iPhone. Sailed NestThat Among themwere QuietSteam(2007),The works shape. employ algorithms applied on a biomorphic puter withprogramming andmathematical codes. These included generative artpiecescreated entirely by thecom- fly bcm h etoi o Marshall’s next works. They of becametheleitmotif The peculiar,The recursive technique used to create Butter- A completelyself-taughtanimator, GlennMarshall sixcommercials, In 2005,Robinson directed aseriesof Fifty Percent (2001)wasRobinson’s Grey secondwork and Ruairí Robinson (b. in adegree Dublin, 1978)earned Lorcan (b. Finnegan Dublin, 1979) founded Lovely - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 mances, interactive installations, comics, andworkshops. experimental music videos, perfor in theproduction of the group Delicious 9. It was active from 2001 to 2006 Madden, Eoin Whelehan, and Andy Clarke, he created ArtandDesign.With Paul at DunLaoghaire Instituteof Entoptics (2007)andespeciallyPleaseSaySomething (2009). and tothosewho finditold-fashioned. different ages–toviewers who relate ittotheir childhoods rough animation, inspired by early videogames, appealto RGB XYZ,for example, hasaninsignificantplot, but its and anime, videogames, TV, andtraditionalanimation. His style mixes many visual sources: contemporary manga gives. expression only this art form CGI, with a freedom of went viralontheWeb. erately lookslikeachild’s raw computer animation and with octopus tentacles looking for his lost parents. It delib- acat a nine-year-old kidfrom Chicago. seriestellsof The on YouTube; Randy Peters, itispresented asthework of and 2008.OctocatAdventure(2008)wasreleased infive parts (2006) andRGB XYZ,ananimated series between 2004 first works. shortWOFL2106These includethevisionary with thedesignerJon Klassen. I Don’t GoCrazyTonight’ (2009) GoCrazyIf ‘I’ll single (2007)andthevideofor U2’s Rambow axy (2005)andSonof for GarthJennings’ Hitchhiker’s features The GuidetotheGal- and theBBC.Hewashired tocreate animation sequences own projects. Healsofreelanced for clientssuch asSony AKA. Later hequit towork anddevelop independently his mator for Shynola andasMarc Craste’s assistantat Studio studied thetradebut in2004hestartedworking asanani- hisera.Henever formally 1985) wasasupreme talentof the characters. ics, inorder toreflect the experiences of scoped animation tofullyrendered- CGItomotion graph and animation reference. style switches The from 2D roto - in live action,theneditedandusedasbothstoryboard treatment-induced hallucinations. shot shortwasfirst The our perception andthewoman’s altered reality through hallucinations. filmconstructsadual The realitybetween Sophie, anillyoung woman who experiences synesthetic graffiti look. A boy faces a monster made out of thesamesupermarket trolleys hepushes every look.A boygraffiti facesamonster madeout day. Teemufern, Auersalo, KarenRegan, Rob Power, andRay Forkan. Trolley by Boy Auersalo wasanimated in3Dtoobtainanunderground 40 39 The collective also included these members: Mark Flood, CiaranCrowley, collective MarkThe alsoincludedthesemembers: Flood, GeneMurphy, Barry Katya Rinaldi,SuePendrid, TimRed- By OlivierCotte. Eoghan Kidney was born inDublinEoghan Kidney in1982andstudied wasborn A similarapproach wasusedinO’Reilly’s shortsSerial O’Reilly expression constantly seeks a graphic befitting At that time, he started to experiment and created his Visionary and versatile, David O’Reilly (b. Kilkenny, In 2005,Kidney directed Stars of . Ittellsthestory 39 - the digitalrevolution. live from theirtrade–abreakthrough madepossible by peopleinanimation could home, andalarge number of work philosophy. Itwasnow possible towork cheaply from in quantity, there wasalso anevolution inthestylesand ing itspositionintheculture. Inadditiontotheincrease andboost- animation, declaringthat itwasanartform of another French specialty. mation penetrated everywhere, includingvideogames, world. Specialeffects‘madein France’ flourished.Ani- were made in abundance and screened throughout the toneanddigitalfabrication. Shortfilms adopted amodern animated features multiplied. TVseries numberThe of including the ones made for television and the Internet. thefilmsproduced in France, impossible toscreen allof worth 41.7 million euros.) audiovisual programmes, foreign salesof for 35 percent of United States and Japan. (In2007,animation accounted third largest animation-producing country, behindthe dedicated schools propelled thenation intobecomingthe digitalanimation, andthegrowing number of rise of cally. impetusgiven The by government programmes, the Between 1990and 2010,French animation changed radi- France reality andfictionbecomeindistinguishable. visionary, crudelookatsociety, contemporary inwhich Festival. its awards includeaGoldenBear at theBerlinale Film Please Say Something wasahuge public andcriticalsuccess; ple inafuturisticcity, resisted any polishedappearance. adysfunctional mouseandcat cou- latter,The of thestory and therefore had a limited audience; that originality tudes were shouldbeaimedat that children thisformat film seemedfinanciallyunrealistic.The prevailing atti- ananimated feature Not longago, theproduction of The Feature Film h ei nomdtepbi a at fthenature thepublic (at last)of mediainformed The French production somuch grew that itbecamealmost WorldIn 2010,O’Reilly External directed The . Itisa 40 Chapter 3:France

97 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 eeo ihrnraie n hi fproductions. He develop richer narratives andachain of there was one, considered the feature an opportunity to tor loved, toclassicalanimation oncels. signal thechangeover from papercutouts, which the direc- Robert LouisStevenson. two The features in themodeof latterThe isamagnificenthomagetotheadventure story, and Monkeys’, a.k.a.‘A Castleof (‘The Monkey’s Tale’, 1999) 1980s. However, he followed up with Le château des singes the in producing and directing Gweninthebeginning of makingafeature. dreamed of in production represented afeastfor directorswho had Belleville’, Persepolis expansion). The films (‘The Triplets of , et lesMinimoys productions market intendedfor theinternational (Arthur sales abroad thaninFrance. wasnotonlytruefor This in France). 31filmsmadein TenFrance hadmore outof by more thanamillionviewersaround (seven theglobe Belleville’. Triplets, ‘The de Belleville of be difficulttofind anything more French thanLestriplettes for example, has many references to Ireland, and itwould , Kells films lean more toward Secret of specific cultures. The if the acommonEuropean culture – even tification of course, totheiden- operating contributed, of wayThis of the initial investment as to ensure presales to distributors. they were madewithEuropean partners, asmuch tolimit the early than twenty-first century ever before. Generally in 2006.More animated features were madeinFrance in mated feature produced in1990,eight2003,andseven the industry. for alarge audienceandprofit from itwasa revelation to edly successful.ThatOcelotcouldmakeanart-housefilm from adirector known onlytofans;anditwasunexpect- ture. itwas Itssequentialnarrationwasoutsidethenorm; modest budget anddrew from African,notFrench, cul- the Sorceress’, Michel Ocelot,1998).Itwasmadewitha afewdifferent projects. fessionals ledtotheemergence of animation pro- (especially Pixar’s) andthehighnumber of producers. ButthenewAmericanfeatures the spiritsof theseattitudes dampened tion wasunpredictable. Allof represented distribua major risk; and that international - 98 42 41 Directed by James Huth,2008. Directed by Gérard ClaudeZidiand starring Depardieu,1999.

ntesm a ihlOeo,asoyelri ever In thesameway Michel if Ocelot,astoryteller Jean-Francois Laguionie had encountered difficulties Since 1998,nineanimated feature filmshave beenseen doorhadopenedatThe last.TherewasoneFrench ani - et la sorcière withKirikou race began (‘Kirikou and The Chapter 3:France (TeIln fBlackMór’,2004). L’île deBlackIslandof Mór(‘The Igor) but also, surprisingly, for thepersonal Mandarine for thesmallscreen.Blanquet (b. Stéphane of goire Solotareff (b.graphic novels 1953)andadaptedthe scriptwriter for comic books then created scripts for Gré- Among writers, Jean-Luc Fromental (b. as a 1950) began tion when creators jumpfrom onedomaintotheother. expression andstylethat onefindsinanima- freedom of lix Vs. Caesar’, ples includedAstérixetObélixcontre César,‘Asterix andObe - and animation becameoptional.French live-action exam- to draw thecharacters tomakethemlive onthescreen, a fleshand blood actor. Itwasnolongeralways necessary encouraged thepublicadrawn toaccept figure becoming comicsintolive-action films and French adaptations of diverse American ductions. Also, thegrowing number of decades, itseemedthere waslessdemandfor such pro - BelvisionorGaumontinthepreceding the outputof France and Denmark, is typical. However, compared to pletely. iar withbotharts. creators withdifferent influences who were famil- gence of adultcomicreadersandtheemer growing number of modifiedthe factors relationship between themedia: the filmjustenhancedprintedoriginal. Two important strip hasalways beennarrow anddebatable. Very often, animation. ishing publishing domain,couldn’t stay onthemargins of an artnow recognized by officialauthoritiesandaflour comicstripinFrance, the contemporary successof The Animation andComic Strips the toolthat makesafilm, but thedirector’s will. that it’s not itsauthor’s style–furtherproof sentative of latterThis work, madeoncomputer, isabsolutelyrepre- Quest’, 2006), which gave free rein to his humanist spirit. a pure jewel, Azur et Asmar (‘Azur & Princes’ Asmar: The (‘KirikouandtheWildvages Beasts’,2003)before creating 2000). Hewasartisticdirectoretlesbêtessau- onKirikou compilation, then hereworked shortanimated silhouettesasafeature came topublic andtheSorceress attention withKirikou (1998); h o oto publishing acomicstripfacilitated the lowThe costof fcourse, classicaladaptations didn’t disappearcom- Of relationshipThe between animation andthe comic (2007)byMandarine andCow Jacques AzanandChico Asterix etlesVikings(2006),acoproduction between Princes etprincesses(‘PrincesandPrincesses’, 41 . Luke andLucky 42 - - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 Figure 3.9 action. He codirected the animated feature Persepolis (2007, festival). His work alsoincludes several short films inlive- (his ary 1970), alias Winshluss, is a comic strip author and artist tor’s palette. Vincent Paronnaud (b. LaRochelle, 1Janu- Mon placard (‘MyWardrobe’, 1999). colourful, morbid comics. result The was the seven-minute add movement universe stemmingfrom tothegraphic his Conflans-Sainte-Honorine, usedcutoutsto 15May 1973) h w rscudrpeettofct fthecrea- twoThe artscouldrepresent two facetsof Pinocchio won best comic book at the 2009 Angoulême

Jacques-Rémy Girerd, (‘RainingCats Laprophétie andFrogs’), desgrenouilles 2003.©FOLIMAGE. n h cl fthe projection encouragedthefilmmakers and thescaleof movement was inblack andwhite, whereas theadditionof thestrip–onelegitimate change wasthat the strip spirit of following the1979revolution. filmwas faithfultothe The novel, graphic an independent aboutSatrapi’s lifeinIran comic strip to animation in several ways. It is based on the filmwasbased. Iran, 22November 1969), who wrote thecomiconwhich nominated Satrapi for (b. anOscar)withMarjane Rasht, h imsad u rmteuulaatto fthe filmstands outfromThe theusualadaptation of Chapter 3:France

99 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 in animation directing littlePlasticinefilmssuch as4000 numerous shorts, feature films, andTV work. Hestarted thestudioFolimage, wastheproducer anddirectorof for animation. theplaguesof chatter, oneof and animated withcare. Chometalsoknows how toavoid his characters, who are oftencaricatured matic qualityof style, thoughnotwithoutinfluence, centred onthedra- a bitlacking. InashorttimeChometfound apersonal which exhibits spectacular know-how, thoughthesoulis perfectioninthefilm, woman. Thereare momentsof travelling to Edinburgh withanimpressionable young ageing stagemusician (modelled onTati) who endsup from anunfinishedscript by Jacques Tati. Itisaboutan mation with L’illusionniste Illusionist’, 2010), taken (‘The finely caricatured ‘Old France’. Oscar nominations) owes much toitsoriginality, offeringa thefilm(withits two States byThe successof theMafia. acyclistgrandson, kidnappedandtakentotheUnited anoldlady tofindher isthequestof The story the film. by Crécy’s drawings althoughCrécywasnotcredited in Belleville’ (2003), which was inspired Triplets‘The of the AnnecyFestival andanOscarnomination. which won numerous prizes, includingtheGrandPrixat OldLadydame etlespigeons(‘The andthePigeons’,1998), in France. Hisanimation career reallywithLavieille began Purdum animation studiobefore tocomicstrips returning Chomet worked for awhileat inEngland theRichard Early onthey madecomicstripstogether.tember 1966). at thesametime asNicolasdeCrécy(b. Lyon,- 29Sep 1963)received adiplomaat AngoulêmeSchool ber which matched thedramamagnificently. script and visuals. it used only black Again, and white, lon, 9 July 1971), was a futuristic film noir with a richvery interludes.graphic sequence, which resulted inapatchwork filmwith very Mattotti, andRichard McGuire. Each artistdirected a Charles Marie Caillou,PierrediSciullo, Burns, Lorenzo comic strips, illustration, and animation including Blutch, film’s artisticdirector.gathered He togethertalentsfrom comicstrips, was the white. Etienne Robial, apublisher of work that played card the very of graphic ananimated feature film. duction of matter would have bartothepro- beenaninsurmountable grey.to addlevels Onlyashorttimebefore, of thesubject 100 Jacques-Rémy Girerd (b. Mars, 7March 1952), founder After adetourinlive-action, toani- Chomet returned successallowedThis himtocontinue withafeature, Sylvain Chomet (b. Maisons-Laffitte, 10 Novem- Renaissance (id.,2006),by ChristianVolckman (b. Ava- theDark’, 2008)isacollectivePeur[s] dunoir(‘Fear[s] of

Chapter 3:France pure black and Christmas talewithanhonesttechnique basedonpastels. lie’s Christmas’,1998)ashortfeature for children. Itisa mography, oneoutstandingfilmisL’enfant (‘Char augrelot foetales (‘4000Fetalimages Images’,1979).Inhislongfil- by director LucBessonandBUF Compagnie. ture whole productions, aswiththelive-action/animated fea- specialeffectstoencompass passed from theframework of in bigAmericanproductions. competencesometimes This tion, sooncrossed frontiers andtheknow-how wasused spare time. which were oftendirected by young talentsduringtheir for the advertising sector, then for feature film and shorts, ments dedicated tocomputergraphics. They worked first Guff Line, working inpostproduction, alsocreated- depart Duran-Dubois, Mikros Image, BUF Compagnie, andMac dio for computerimagesinEurope. Companiessuch as Ex Machina. For atime, thiswasthemostimportantstu- simulation, Digital Image, withThomson gave birthto inthe2000s.the industry duringthe1990sandtheygrew were well established in compete withtraditionaldrawing, but theirpresence grounds that such a‘cold’toolas computercouldnever technologies. were These criticized at thetime, onthe new butindustry also to prepare France for the arrival of wasnotjusttolaunch atraditionalanimationpurpose mademany available.çois Mitterrand, grants Their itsculture-loving president Fran- under theinfluenceof the1980sFrench government, In thebeginningof 3D andInfography , ‘The Firebird’.2000, ‘The the best sequences in Dame and directed one of Notre ing for LosAngeles, they Hunchback worked of onThe duced anddirected several seriesandTVspecials.- Depart French Disney studio startingin1989,where they pro- visually closetoTVwork. 2008) hasamore conventionally Manichean scriptandis different techniques. MiaetleMigou(‘MiaandtheMigoo’, immediately recognizable but are often made using very paradox here, because the films made at Folimage are children’s bookillustrations. Thereisasortof thetic of thestudio, heavily inspired by theaes- style istypicalof Frogs’, 2003) a variant on the Noah’s ark story. Its graphic (‘Raining CatsAnother is La prophétie and des grenouilles This developmentThis inspecialeffects, oftenusinganima- Sogitec,acompany specializingin flight unionof The The Brizzibrothers,The Paul andGaëtan,managedthe (‘ArthurArthur etlesMinimoys andtheInvisibles’, 2006), Fantasia - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 12 October 1956),afterMagritte. Bosch, and Double Secret (1991) by Cécile Babiole (b. Paris, Conjurer’, 1990) by Eve Ramboz, afterHieronymus thiscanbeseeninL’escamoteur (‘The works. Examplesof sensibility orbackground. They oftenhijackedclassical duction, were exploited by directorspossessingapainter’s taine’s fables, usesvery primitive shapes. Georges Lacroix, andJean-Yves Grall),basedonLaFon- Geometric Fables’, 1990–1993)by Fantôme (Renato, touches neededtobeanimated. Lesfables géométriques(‘The invisible manasthemaincharacter, soonlytheobjectshe cal Vuong (b. for example, Paris, hasan 6March 1960), cially delicate. Invisible (1991)by ManinBlindLove Pas- way or another. Character representation remained espe- had restrictions that thedirectorshadtogetaround, one final animation. toolhadacrucialimpactonthevisualsand the choice of used were very diverse, especiallyat thebeginning, and master thetoolsandyet theirown keep style. tools The Creators exploredform. several routes, to determined anewart thebeginningof enthusiasm characteristic of emulation and 1981 to2000encouragedthespiritof computer images. contemporary thetics and techniques of sical animatorsanddirectors. They upwiththeaes- grew clas- de l’imagetocomputers, created anewgeneration of olderestablishments likeGobelinsL’école opening upof in theworld by 3DWorld themagazine in2007)andthe as Supinfocom (created in1988andrated number one (‘The Tale of the Floating World’, theFloating Tale(‘The 2001). of made AlainEscalle(b. Argelès-sur-Mer, who of 27May 1967), 1956); and the work by Marc Caro (b. Nantes, 2 April thespectatorcarries intoadreamlike world; KO Kid(1993) the Opéra programme, Imaginaire which June 1958), partof Lakmé (1992)by Pascal Roulin (b. Sosoye, Belgium,27 their films didn’t fitinto any category. Examples include between techniques, riskingrejection by festivals because and animation, laying smoketrailsandabolishingbarriers (b. Paris, Otherdirectorsmixed live-action 9June 1961). 1992)by Jérôme theStorm’, Lefdup du cyclone Eye (‘The of L’œil and videoeffects. An example isthetitlesequence of tain artiststomix3D, rostrum camera,classicanimation, creator, made 1995’s Terra Incognita(id.),featuring actor 1963), adistinguished animation historianandcomic-book Numerous bridgescreated by thetoolsencouragedcer purelyThe 2Dtools, initiallyusedindigitalpostpro- the1990s, still computerimagery In thebeginningof Additionally, theannual ‘highmass’at Imaginafrom productions,These aswell asnewspecialistschools such Olivier Cotte(b. Soisy-sous-Montmorency, 20 June Icarus’s (1994)andLecontedumondeflottant Drownings -

(‘The Faktory’,(‘The 2001)andSpaceFeet Attack (2003).In Berni’s several filmswithdark eccentric humoursuch asLafabrik his artisticwishes, vision. offeringanoriginalandpersonal build achild. Grammaticopoulos bendsthecomputerto humanity,futuristic town devoid searching of for akitto erful identity. Regulator’ ‘The shows acouplelivingin crudelightinggive hisstyleapow- deliberate choice of imagination, the highly developed soundtrack, and the lator’, Stomachs’, 2005),andLesventres(‘The 2009).The Regu (‘The Le processusProcess’, (‘The 2001),Lerégulateur - developed styleinfilmssuch as graphic avery personal comicstrips. He and wasanillustrator andauthorof 1970)received adiplomafrom Supinfocom December lighting. thecomputerandwithspecialattention to possibilities of timingwasdeveloped inarealistic way,of usingthefull this master fantastic and poetic universe2009). The of (id.,2003),andMasques(‘Masks’, Death’, 2001),Rascagne Well’,Le puits(‘The 1999),followed by LamortdeTau (‘Tau’s film, in CGI with his first distinguished himself ber 1969) Garden‘,(‘The 2003). tional but nolessimaginative, asintheexcellent Lejardin wards, Paccou’s production methodsbecamemore tradi- intoanorificeinherstomach.husband plugged After wood engraving; inthesymbolic story, awoman has her Dakar, develops closeto graphics 6April 1974), Senegal, productions. classicaltechnical ics aren’t very different from thoseof organicmatter.- Sometimesthegraph of transformations 1995) andCloison(‘Bulkhead’,1997)are obsessedwiththe is largely Limbes(‘Limboes’, based onmetamorphosis. the oppositionbetween 2Dand3D. ExMemoriam(1992) approach but itdevelops aesthetic,using acontemporary Cahincaha (1996)usesaconnectionistmethod. behavioural synthesis; (1992) isbasedonananimation of of his programmes. Elorap applications films consistingof Michel Bret (b. 1941),painterandmathematician, made research. whodeeper programmers pursued For example, thetechnique were often linked tothedevelopment of mal research at thesametime. Nevertheless, thecreators avisualshow, withadesire fortraditional ideaof for brought to, withfantasticresults. according totheplaceitis given amapthat draws itself short imaginesthatmerchant anineteenth-century is Michael Lonsdale. beautifulandalmostunknown This Yann Jouette (b. directed Strasbourg, 12August 1972) Philippe Grammaticopoulos (b. Brussels, Belgium,29 Jérôme Boulbès (b. Casablanca, Morocco, 2 Novem- Bériou(b. 1952)ismore classicalinits workThe of Above all,thedigitalimagedeveloped around the Un jour(‘A Day’, 1997),by Marie Paccou (b. Chapter 3:France

101 - - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 TV Series 102 43 entertain as much as they film. wanted to make a personal the new directors wanted to (with Plasticine), some of niques (mainly3D),orinfluenced by Britishproductions by theAmerican cartoonandwithgenerallysimilartech- relation films–camebackintoplay. inpersonal Influenced shortfilms. thescript– oftenthepoor First, very ment of Many thingsare clearwhenthe develop oneconsiders - FilmThe Short ideas andgraphics. encouraged by commercial successandtherenewal of tive network. producers concepts, proposed The modern acrea- ‘bread andbutter’ money tothat of the level of to work for TVseries, becausethissectorhadpassedfrom Foot by 2rue Marco Beretta? Itwas nolongeradishonour and by Emmanuel Gorinstein(b. Thiais, 27April 1970), Titeuf (from the comic strip by Zep), adaptation of was itsdiversity. What wastheconnectionbetween the French TVproductions thing aboutthenewgeneration of rior influencesbrought newcreativity. The mostsurprising attempts, oftenvery conventional. openingtoexte The - somecourageous productions waslow and,inspiteof a completelynewsituation. watched theseries, compared to41 million French). Itwas Germans than inFrance (from 2006to2007,43 million hadmore Luke success inGermany aventures deLucky inGalicia(Spain).Lesnouvelles accounted for 46 percent Italy onChannelItalia1(2006/2007figures). CodeLyoko themarket in of that accountedforgraphics 50 percent influences, withanime-inspired anAmericanconcept animation. French thespearheadsof TV directorsconstitutedoneof helped by production contemporary methods, thenew Nourished by AmericanandJapanese productions and (‘The Angel’sde l’ange(‘The Fall’, 2005). (‘Marvellously Grey’, gris 2004)andLachute Merveilleusement at Mikros Images. Hedirectedfilms, shortpersonal such as a dark universe, endlesslybuilding asex robot. Doll (2008),acharacter withanoutsized headistrappedin H5 was formed byH5 wasformed François Alaux,HervédeCrécy, andLudovic Houplain. eoetebgnigo te19stenme f the1990snumber of Before thebeginningof Geoffroy Barbet Massin(b. Lisieux, 2 June 1970) worked

Chapter 3:France wsatpclmdlo diverse Totally Spieswasatypicalmodelof Skyland ingly wide.ingly styleswasamaz- François panoramaof Laguionie).The Jacques-Rémy Girerd) andLaFabrique (founded by Jean- nies, such astheabove-mentioned Folimage (founded by and JPLfilms.These appeared alongside existing compa- Autour de Minuit (also specializing in the pop promo), ment Lundi!,Sacrebleu Productions, Je suisbiencontent, 1990s: Lesfilms del’Arlequin, Les filmsduNord, Vive- newproduction companiesappearingfrom the number of tive H5). Oscars, even winningone(Logorama , 2009,by thecollec- regularly represented at festivals andbeingnominated for theirimitators. ledtoFrench This filmsbeing quality of films. Yet themodels were often excellent andliftedthe in production,towards especially in graduate uniformity passed from one director to another. There was a tendency They fishedincommonwaters for models, andinfluences animation was scarcely known by newcomers. of history afterJapan), manga becausetheclassical consumer of was the Japanese model (France was the second biggest and minimalistanimation. desireThis topleasecausedthemabandonslow timing improvisation. with extreme care for months, which ruledoutnearly all Franck Maigne. shortswere These technically prepared hisfilms were directed with ily inpixilation andmostof 1958) worked primar (b. Neuilly-sur-Seine, 26 March drawing withasuperbly designeduniverse. LoloZazar immortels (‘We Are Immortals’) in 1999, made in charcoal for bestshortfilm.Hedirected the well-known Nous sommes 1986),which ChimericalStairs’, rique (‘The won theCésar several films, starting withL’escalier chimé- is the director of world, oftenabandonedtheshortoncehewasestablished. tor, withhisfilmasapassporttotheprofessional armed made expressly for festival presentation. new anima- The school filmsoftenserved asjustaprofessional trampoline, graduate ued tomakeshortfilmsaftertheir work.These parenthesis in production. Fewer professionals contin- ever, for many newcomers, theshortonlyrepresented a theircareer tomakingshorts. How- an importantpartof and financialdifficulties, personal woulddedicate spite of shortfilms. Atonetimemany directors, in ginalization of Another evolution, themar nottobeignored, concerns h ubrto expression wasmadepossible by alarge outburst of The The Anglo-SaxonThe animation models were popular, as Graphic artistDanielGuyonnet (b. Paris, 30July 1960) 43 - - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 fMariedeFrance of career. With Lais andfineness, elegance thefilmadapts The film, first productions. a refreshing change from theoftenoverly wordy French Canada.Jullien’s filmsareBoard oftenwithout of words, Ruzz etBen(2005),coproduced withtheNational Film model animation. Hefollowed itwithTadeus (2000)and theSea’,1998),asensitive work, in Cyclopmer (‘The of rator at JPL Films, directed film,Le cyclope his first de la I trenches; theclaymixintobackground mud. soldiers World filmdescribedthehorror of 2007). The War Glory’, before hedirected Lejourdegloire Day (‘The of Mitchum wasfollowed asapuppet.This by several series So(2003),hegaveIs Like anewlifetothefilmstar Robert BacktotheWall’).2001 withLedosaumur(‘The InCalypso church is disturbed by the discovery of a bag of gold. The gold.The abagof church isdisturbedby thediscovery of peopleina oche perdueLostBag’,2004),asceneof (‘The anewvisualkind.InLasac- 1998), amodelanimation of selves intoanimation withBouche cousue(‘SewnMouth’, artandworkedgraphic at Folimage. They launched them- Catherine Buffat (b. Bourg dePéage, 6 studied June 1966) 45 44 Figure 3.10 Paris). aforgotten IntheFrench middle agetext wasoriginalanddaring. milieu,thechoice by ÉmilieMercier of andherorigin(France, (England), name (Marie),hertimes(thetwelfth hercountry century), inthosetimesmeaningonlythearea around Alessandro Baricco(b. Turin, Italy, 1958),wrote (1994)asatheatre Novecento monologue, but many people consideritanovel. A Émilie Mercier (b. Paris, 13 October 1968) madeher Émilie Mercier (b. Paris, 13 October 1968) Philippe Jullien 1964),acollabo- (b. Paris, 8August Bruno Collet(b. 1965)startedhisdirector’s career in Jean-Luc Gréco(b. SaintChamond,30July 1965) and h netro thecurrentFrench language. Welais isanarrative poeminlangued’oil,theancestorof know very littleaboutitswriter, except her Bisclavret (id.)in2011,aftera long professional

Émilie Mercier, Bisclavret 44 inimages. , 2011. h oko Alessandro Baricco the work of PianistNovecento’, pianiste(‘The Novecento 2005),adapted ied at l’ÉcoleNationale desArtsDécoratifs. film, Herfirst children’s picture bookandrefreshingly poetic. a rected withHenriHeidsieck;itisfaithfultothespiritof ity lamaisondescontes(‘Eleanor’s Secret’, 2009)wascodi- du lac(‘Franklin theLake’,2006).Ker- andtheTreasure of nomination. his stay at Disney andthefilmanOscarwon Monféry the work andthenotesthat Dalìhaddeveloped during obsessionsrespected surrealist spiritandcatalogue of tially developed by Walt Disney andSalvador Dalí.Its Destino (id., 2003), a short film from a project ini- tor of Hercules, andTarzan . Mostimportantly, hewasthedirec- Notre Dame, Hunchbackney of hedidanimation for The on TVseriesandat theFrench Disney Studio. AtDis- Vol. 2), studentat l’EcoledesGobelins, aformer worked perdrix Partridges’, (‘The 2010). film was followed by Colchique (‘Colchicum’, 2008)andLes Satrapi anddirected commercials very personal for Acme is hispiano. Van DenBoomalsoanimated for Persepolis by onashipwhose onlyreason for amanborn living of story present thebeautiful attention.classicalgraphics The of Sarah Van DenBoom(b. Antony, 4January 1975) stud- In 2006hemadethechildren’s feature Franklin etletrésor alreadyThe (see mentioned DominiqueMonféry 45 andreceived agreat deal Chapter 3:France

103 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 104 u tiuetwrsteErpa a flife. ous attitude towards theEuropean way of twentieth century. Itisametaphorfor theTurks’ ambigu- the stray dogsat thebeginningof destroy thousandsof theTurkish government, whichthe brutalityof decidedto latterThomas Azuélos’paintings, film,basedon denounces thePalme d’Orfor shortfilmThe at Cannes). winner of ing’, 2005),andChienned’histoire (‘Barking Island’,2010, acterized by real honesty. Despite acertaintechnical awkwardness, thefilmis char Germany’). (‘Somewherel’Allemagne intheNorthof by a Raymond Delvax novel, history. Lignedevie(‘LifeLine’,2003)wasinspired tion of documentaries. Hiswork inanimation isalsoanillustra- director. Obsessedwithmemory, hespecializedin first 1955)wasanactor (infilmsandtheatre) and film ber potato andhiswife’s reaction. tionally scriptedandisaboutaman’s passionate love for a Patate Belgiansurrealism.Love (2010)ismore tradi- tion of character who discovers an invisible in the tradi- carnival, a solitary short, describes theslowfirst peregrinations of ered by LesfilmsduNord. Chahut(‘Uproar’, 2005),his found humanity. Demuynck have Arnaud a pro- to motion, the films of Hymns hisgrandson. silicosis, seenthrough theeyes of of fossile (‘Fossil 2010)describesaminerwho Memory’, died France, Northern Mémoire ons. Inspired by theculture of pris- L’évasion Getaway’, (‘The 2007)issetintheworld of herdaughtertomakeabandontheveil. in front of theVeil’, 2006),aMuslimmotherdances the Shadow of way.with theimagesinasurprising InÀl’ombre (‘In duvoile sensibility. Attheend,Demuynckobscure andfull of plays Life’, 2004),isablack andwhite filmaboutmourning. Itis three shortanimated films. Signesdevie(‘Signsof work of Sluice’, 2000)basedonchoreography. Demuynck decidedtodirect thelive-action L’écluse (‘The Franceern andBelgium.Afterproducing nearly 25shorts, short films from North- both active in the production of companies LesfilmsduNord andSuivez mon regard, for herlostlover. awoman’s grief tells of Filmworks. team andcollaborated onTV serieswhile continuing made onhisown over four years. Hethencreated a short,Lebalayeur Dustman’,His first (‘The 1990),was animation. ily anartistandteacher who taughthimself Serge Elissalde (b. Besançon, 30 July 1962) is primar It wasfollowed by- Unbeaumatin (‘OnaBeautifulMorn Serge Avedikian (b. 1Decem - Erevan, Armenia, Gilles Cuvelier (b. wasdiscov Lille,- 6February 1977) His sensibilityfor dancewasdeveloped intheframe- 1966) created the Demuynck (b.Arnaud 11August

Chapter 3:France La femmesqueletteWomanskeleton’, (‘The 2009) Quelque part dans le nord de - - Musset. Alfred de inthecompanyinto thenineteenthcentury of using mixed techniques. film plunges the spectator The directed directed the humourartistMoseandJean-François Laguionie, he chouettes Coquettes’),in1970.In1972,working (‘The with at FilmsPaul film,Les Grimault.Therehemadehisfirst is alittleslow but saved by amind-blowing ending. gives apoeticexplanation for themoonrisinginsky;it film,madewithmarionettes, 1997).This bling Arms’, directed andtwoactors marionettes. Môa (‘It’s Mee’,2007)isconceived likeaballet,mixingtwo cent who incomprehension encounters andcruelty. C’est anadoles- of slightly aggressive graphics, tellingthestory Tutu (id.,2001),codirected withPascal Dalet,hadcrude, (‘City’s Smell’, 1994), about a woman tortured by solitude. 1952)emerged insuch filmsasOdeurdeville 14 August is immediately recognizable. immigrants. Herstyleinwater illegal colour expulsion of Papers!’, 2006),usingexcellent visualideastocriticize the See, Darling!’, shedirected 1997).Then Vos papiers! (‘Your remarkable (‘Come and film, Chéri viens voir! graduate tor’s film. script that doesn’t baddies. setgoodies against Itisadirec - animated feature’s usualemphasisonmovement –anda style – whichresides in its graphic is very different from an film isaddressing (children? adolescents?),itsmodernity Whilewe sometimeswonder whatunicorn. audiencethe heradoptive parents andseeksrefuge witha brutality of girl fleesthe short withElissalde, Loulou,in2003).A little ings by Grégoire Solotareff (who previously codirected a ple graphics. Jocelyne (2000)issensitive andfunny, withbeautiful,sim- d’Émile Frout (‘ÉmileFrout’s Secret Life’,1994). Raoul et productionhis personal withsuch filmsasLaviesecrète the Festival duFilmdeLaRochelle. International the Water’), made by prison inmates. Itwas acclaimedat Island’) andCommeunpoissondansl’eau (‘LikeaFishin Toutcoordinated autourdel’île (‘Around themakingof the the Magic Clock’, 2003). In 2009–2010, he Tales(‘The of Ladislas Starewitch filmscalledLescontesdel’horloge magique acompilation of 2001), Rubak directed thepresentation of After Jean Rubak (b. 1947),originallyaviolinist,first worked 2003) 1965–16August Laurent Gorgiard (29March Georges Sifianos(b. Khanyá, Crete, of personality The Claire Fouquet 1971)madea (b. Paris, 30December Elissalde’s feature film U (2006) was based on draw - (‘The Kings’ Good Manners’, La politessedesroisKings’GoodManners’, (‘The L’homme auxbras ManwiththeWob ballants(‘The - Animoses (id.).Onhisown, Rubak produced and Les nocesdeViardot (‘Viardot’s Wedding’, 1999),

Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 aeago ubro productions inthe 2000s, made agoodnumber of directed. idea (orprobably areal schizophrenic mania) andiswell the world. Itisa good very cally offsetfrom the rest of geometri- amanhitby ameteoritewho findshimself of Paris, 13February 1974) madeSkhizein (2008),aCGIstory which cookingserves asbaitfor love. Jérémy Clapin (b. directed thevery aestheticSucré (‘Sweetened’, 2005),in 2010),who often collaborated with Folimage, October 1971–23 Gaël Brisou(Tassin demiLune, 8December hisfather’sboy mourning accident. death inanairplane a (id.,2005),themoving madeImago of story ber 1976) bolic elements. projecting thespectator intoasombre universe withsym- sented. techno styleandhislightingiswell conceived andpre- 2008).Healways employed abaroque and (‘Mr COK’, GhostInventory’,tôme (‘The 2003)andMonsieurCOK camefrom thetheatre todirect L’inventaireary 1970) fan - with adiversified style. Franck Dion(b. Versailles, 9 Janu - which everything seemstohave asoul. 2002) isaninventive andfascinating modelanimation, in canción du microsillonLong-Playing (‘The Record Canción’, desperatelyparts try to repair an impossible machine. La directed rhythm andlighting. trol of Europeangreatshows influencewithits con- anEastern L’amour (‘Love à la sauvette and Secretly’, 1996) in a Hurry colourandmotifs. the Krok festival andisanexplosion of animation. films inlive-action (oftenwithlive specialeffects)orin novel. ing animation, hiscareer moved more towards thegraphic 2004), afilm overflowing withmockery. Withoutabandon- directed immediate recognition. Heworked then invideogames intoawoman) broughtter who wakesupturned dePins the principalfemalecharacter (or, rather, amalecharac- short studentfilm at Annecy. The rhythm anddrollery of filmthatdine in1999,agraduate won theprize for best France, in1943. 46 Ocelot is a pseudonym that was eventually recognized as an official surname by the French state. in He was born Villefranche-sur-Mer, ireLcGajn(.Anmse 9Mrh 1973) Pierre-Luc Granjon (b. Annemasse, 29 March Cédric Babouche (b. Savigny surOrge, 18Decem- anewschool There are also several representatives of 1965) Laurent Pouvaret (b. Saint-Étienne, 30 July Aline Ahondisavisualartistwho sometimesdirects directed Géral- Arthur de Pins (b. 22September 1977) ciiie h nutyo war,L’inventaire fantôme criticizes of the industry Ferrailles (‘Wrecks’, 1996),inwhich animated spare (‘The Crabs’Revolution’, descrabes (‘The La révolution (‘Masquerade’,1998)won aprize at Carnavallée oe woaeotnbr-ratd,adtendt fwomen (who are oftenbare-breasted), andthe nudity of to asequentialnarration,traditional dress for theAfrican pulled outaproject that hereworked inaweek. Hestuck proposed afeature,Armateurs hebarely hesitated and projects andideas. Thus, when DidierBrunnerfrom Les and direct shortanimated films, Ocelot overflowed with did heabandontheshortfilm. precision andconcentration that suitsanimation. Nor of correspondedtoacertainidea for Ocelottheshortformat transition solate inhiscareer mightseemsurprising, but recognition. Thathemadethe success andinternational transition tofeature films, especially, brought himpublic lifeinthe1990s. His his career takeonanewleaseof thebestFrench shortfilms, sawand directed several of was nourishedandreplenishedwithnewinfluences. animation schools, theprofession to thehighqualityof production nolongerexist. But,thanks industrialization of originalstyles. allowed thedevelopment of expression and politics have alsoencouragedalibertyof supervisor) generated many unsatisfactory films, the same (considering thedirector auteurs asaproject politics of the2010s?Inthiswriter’s the opinionitisdiversity.of If French animation at thebeginning characteristic of chief as anidentification.Thingsare notsosimple. What isthe ‘FrenchThe qualityand Touch’ isoftenusedasalabelof FamousThat Touch le pilote(‘Ponpon Pilot’,2004). with humourinsuch filmsasPonpon (id.,1999)andPonpon tor whose nameislinkedtoPonpon, amodeldoganimated imagination suitable for children. cutouts, withaqualityof were style, madeinavery personal usingmodelsorpaper Mélie (‘Mélie’s Springtime’,2009),amongothers. These ’,2006),and Le printempsde Le loupblanc WhiteWolf (‘The the Ravioli’s Can’, 2005), la boîte de raviolis Genie of (‘The including Michel Ocelot, Michel Ocelot Like allcreators who have fought alongtimetofinance On theotherhand, timidity anddefiancetowards the Fabien isadirec- Drouet (b. LeMans, 21April 1969) Petite (‘LittleEscapade’,2002),Legéniede escapade 46 who hadalready worked for television Chapter 3:France

105 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 106 47 the Sorceress’), 1998. Figure 3.11 reunited. bigotries. Thereisahappy endingand the brothers are he pretends to beblind andisguidedby fullof a beggar hislight-coloured eyes, where thepeopleare scared of him by hisfoster mother. Whenhereaches adistantland Azur beginsaquestfor theDjinnfairy, from told thestory and her son are banished by Azur’s father, the adolescent master, who is white with blue eyes. After the foster mother brown-skinned withblack eyes, her and Azur, thesonof allkinds. work showing humanidiociesof flicts between cultures and religions, thefilmisahumanist con- Ocelot’s bestfilm.Intimestroubled by the rebirth of movement. flamboyant The result ispossibly the magicof abeautifuldrawing with wanted toblend theessenceof lot chose thecomputer, mixing2Dand3Daesthetics. He Persian miniatures tothescreen, Oce- bring hisvisionof (‘Azur & Princes’Quest,’2006). Asmar:The Ocelot developed amore ambitiousfeature, AzuretAsmar , ‘KirikouandtheWildet lesbêtessauvages Beasts’,2005), While hewassupervisingasecondKirikoufilm( the titlePrincesetPrincesses(‘PrincesandPrincesses’,2000). silhouetteanimated TVshortscollectedunder pilation of director andgenerated asecondtheatrical release, acom- replyseemedtosatisfyThe him. that hewould have underabaobabtree. beenastoryteller hehadn’t beenananimated filmdirector. if I answered that hedidn’t know what hewould have donewithhislife that heisastoryteller. Oneday heconfided tothiswriter 1998), we rediscover adirector who hadalready shown us admires. respect for aculture heknows and the infanthero, outof Michel communication Ocelot,personal toOlivierCotte, September 2010. In thestory, afoster motherbringsuphersonAsmar, After conductingresearch andtestingtechniques to established Kirikou Ocelot financiallyasa successof The With

Chapter 3:France Kirikou et la sorcièreKirikou (‘Kirikou and the Sorceress’,

Michel etlasorcière Ocelot,Kirikou (‘Kirikouand lot reaches hisgoal,by talkingsimplytotheheart. by having confidencein theaudience’s intelligencethat Oce- impose amessageby shortcutsandcaricature. Rather, itis cheanism. Thereare nogoodiesorbaddies;Ocelotdoesnot beingspoiled by Mani- where nobilityisnever indangerof that naturally callsfor reflection. Itisabouttellingastory because todayitcommunicates the taleisneglected, inaway thetale.site, toaclassicalform, Strangelyenough, returning moralsandduty. Hisfilmsare reminders of exactly theoppo- everyone. African women), becausethequestionsheasksconcern the be (certain countries have frowned upon the breasts of rides themessage. hiscinemaisuniversal, orshould Thus humanist quest.InOcelot’s work, thepicture never over more complex techniques, stillhisheartstays joinedtoa has become increasingly important with time as he deploys always present inhiswork andvisible from image, thefirst theaestheticdesire, which is together contentandstyle. If ment withalastingmeaning’. desire is‘toreach awideaudienceandtobringenchant- ates how well itworks Ocelot’s format. withthe short-story on theessentials, isattached toitssimplicityandappreci- silhouette? Ocelot,who loves purityandwishestofocus theNight’].)Why totheanimated return Nuit [‘Tales of were later compiledintothe2011feature LesContesdela ons etPrincesses[‘DragonsandPrincesses’];selectepisodes puter. (Itwasa13-partTVseriesfor Canal+,calledDrag talesanimated insilhouette, wasmadeentirely by com- of colourcontrol, that hisnext project, a newcollection of the digitaltechnique’s advantages, especiallyinthefield animation. this trap. Shestudiedfine arts but shealsofellinlove with Miailhehasn’tment tohisimages. Florence falleninto adding moveage animation’s- potential beyond that of to berecognized talentcan’t for hisgraphic always envis- time between thetwo spheres. arts, andmany, Miailhe, includingFlorence share their relationship. Numerous directorscomefrom theplastic Painting andanimation have always maintainedaclose Florence Miailhe These are These notpedanticfilmsthat stifletheaudiencewith cltsflsaeipratbcueo how hebrings Ocelot’s filmsare importantbecauseof After makingAzuretAsmar,Ocelotwassoimpressed by This canbeabadcombination.artistwhoThis The wants 47 - - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 White Birds’, 2002)isaspecialcase. technique, The sand, a party,to thebodies, a celebration. withthesenseof brightcolourgive legibility athicklineandareas of use of and touch; there are many embraces in Miailhe’s films. The municate, encounter, and live by their bodies. They dance animated mouths),they com- doesn’t liketheartificiality of sensual gesture. Asthecharacters are voiceless (thedirector obsessionwiththebodyThe isfocused by sensitivitytothe crude becausethey’re linkedtoasolicitingadvertisement. Neighbourhood’s Tale’, 2006),it’s hard nottofindthem Sunday’, 2000)isbasedaround dance. route, and Au premier dimanche August d’août (‘On the First art.Shéhérazade (id.,1995)follows asimilar of in thehistory body. Languishingnude femalefigures frequently appear the human he’s most common motifs is the sensuality of Miail- themewasn’t naive. Oneof image. choice The of the basic was done directly by successive modifications of aspect andthetraditionalworking method,theanimation Hammam (id.,1991).Inorder topreserve thepictorial ment, orthrough paintingwithmovement. make paintingsmove, but alsototellstoriesthrough move- paintings, already fascinated her. She wished not only to some point.Moving images, particularly theanimation of Paris, shewasalready planningtomove intoanimation at studying engraving at the École des Arts Décoratifs in Figure 3.12 Les oiseauxnoirs, les oiseaux blancs BlackBirds, (‘The the ‘A Considering thenudityfor onposters Contedequartier( paintingisfirstfilm, obvious inher influenceof The 1956)was When Miailhe(b. Courbevoie, 24January

Florence Miailhe,Florence Hammam,1991. stance. Itisn’t aclosedsystem;even themovements are traying thedistrict’s changes. philosophical demonstrations, andmonochrome tintspor colour for storieswithcarefree characters, dyed sandfor is closertoastory. toolsare The linkedtothesubject– ous films for amore contemporary, dramatic texture that pastelsinherprevi- uses paint,exchanging thesparkle of adollfrom handtohand.Miailhe the symbolicpassingof thepassagefromters; onetoanotherissmooth,linkedby different charac - title areaThe is seen through the eyes of ideas theotherenhances. collaborate moreeach instructuringtheconcept, bringing by music composedaftershooting. MailheandDesplechin might bewritteninpreproduction but couldbereplaced narrative withclassicrules. Text anddialogue, for instance, the writer Marie Desplechin. idea is not to create The a since with hisstick. Bokar, aSoufimaster, who instructed by drawing insand of Tierno reflects thefilm’s reference totheteaching interest infinding anewtechnique, Mailhe’s approach from supportingthesand.Apart her and undertheglass increase therange. Finally, paintare placedover levels of sand, lit from beneath and ontop to different types of dure ismore complex thanitappears. Thereare several colour. procelimits Miailhe’s The - characteristic use of In Miailhe’s work, a picture speaks through itssub- In ‘A Neighbourhood’s Tale’, a real is developed. story Miailhe’s filmsare nottraditionallyscripted.However, Shéhérazade, shehasentered intocollaboration with Chapter 3:France

107 - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 ihakn fnonchalance that would makenumerous with akindof miniseries for television intenparts, develops littlescenes theimage. could exist withoutthesupportof novellas, isobvious;literature, thetext andparticularly of of with traditionalfilmmaking. With Gagnol, the influence trative image. isoftenconsidered partnership at Their odds theeruditenarrative text andtheillus- the combination of Gagnol andFelicioli’s filmsfindtheiridentity in precisely ics, thebackgrounds andcolours. They share thedirection. sions, Gagnolanimates while Felicioli- handles thegraph which isadjustedby Felicioli. afternumerous Then, discus- inFelicioli’sthe graphics saturated colours. the front). directors’inimitable The styleisrecognizable by thecelandhighlightedinchalk on (painted onthebackof was madeincelanimation toproduce acolourfulresult 1995). Itwasoriginallyplannedinmodelanimation but directed two filmspriortocollaborating with Gagnol. in several artschools before decidingonanimation. He designerandanimator.graphic tive novels and at the same time started with Folimage as a Gagnol (b. Roanne, towards detec- turned 13May 1967) AlainGagnolandJean-Loup Felicioli. styles, asinthecaseof numerous artistshave startedthere anddeveloped their own both stylisticallyandtechnically. Over thepastthirtyyears, Filmes from Portugal). production Their isdiversified, xml,teNtoa imBado Canada and Ciclope example, the National Film Board of specials, andfeature films. produced work inseveral shorts, formats: TVseries, TV repute (La Poudrière), and theatrical distribution. They international in schools, artists’residencies, aschool of shortandfeature films, presentations the production of Jacques-Rémy Girerd, wasactive innumerous areas: Folimage, theproduction company created in1981by Felicioli Alain GagnolandJean-Loup 108 48 between thespiritandheart. partly calculated, partly intuitive, and the result is midway worked in adifferent way from onefilmtoanother. Itis By GiannalbertoBendazzi. (‘The Tiny minuscules (‘The Les tragédies Tragedies’, 1999), a Gagnol writesthescriptanddraws arough storyboard, first workTheir togetherwasL’égoïste SelfishOne’, (‘The Jean-Loup Felicioli (b. Albertville, 18July 1960) studied From aspiration his first to be a comic book artist, Alain The studioalsoworksThe inassociation(for withothers

Chapter 3:France

are very French andalsorather unusual. action. For this reason, Gagnol andFelicioli’s productions vision, leaving andpsychological literary aspectstolive- theself. animated The filmrarely explores this nature of atre, filmdialogues, and even diaries. Italsostudiesthe had established. The filmisfaithfultothevisualstylethatfilm. thedirectors the might hamperayoung audience’s of understanding complex writingthat the characters withoutthekindof resulting 70-minute feature gives intelligentattention to based onadetective aboutachild story andacat. The and Felicioli directed Uneviedechat (‘A Cat’s Life’,2010), questions. into amaze of short, usesnarrative development todraw theaudience valuable objects. difficult This exercise, thedirectors’best acorridor, which issupposedtoprotect some the endof that seemsuseless, spendingweeks watching adoorat is‘anti-cinema’).Inthestory,again, ajob amanaccepts the accent is on one character and even one place (which, decided towork onapurely visualnarration.Asusual, dialogue in more than ten short films, the two authors minutes, isanotherexperiment. Having played with strange narrative contexts. commonplace universe that develops adultdramasand novel,the graphic transportstheviewer intoacompletely thedirectors’love for of thescriptsandgraphics, born of the translation into animation marriage is essential. The action cinema,would impoverish thestory. Therefore, reality,ship that istoodirect areflection through of live- andwould liketolive. recognizes oneself allbuild worldcolour harmonies, anillusory where one the characters, and the script, the extreme stylization of live-action? Yes, theshooting but thejudiciouschoices of novelistscontemporary proud. Couldithave beenshotin (‘The Spring (‘The Života sis’), in1968.In1969,hemade Izvor black humour, (‘Analy hepremiered film,Analyse hisfirst - great imagination and and cinema.A satirical fineartistof July 1943) focused hisartistic lifeonpainting, illustration, Borislav Šajtinac(b. Melenci,Yugoslavia [Serbia],29 Borislav Šajtinac French culture isattached tolanguage, literature, the- Unable toavoid thetrend tomakefeatures, Gagnol 16 2005),alongerfilmof Corridor’, Le couloir(‘The relation- Also, theimage’s istoillustrate. purpose A 48 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 zen in 1989. He eventually settledinParis andbecameaFrench citi- topainting, illustration, andillustrated stories. himself same title. newmaterial. Sinceitwasstrongly inspired by theshortthat Šatjinac madeinYugoslaviaaddition to20minutes of in1970,itbore the 53 52 51 50 49 Figure 3.13 50-minute opsdo different things:drawing, limitedanimation, composed of movie, i.e. itisfarfrom aclassiccartoon, but rather afilm tre’) andthefeature Hôtel12étoiles(’12-StarHotel’,2013). il fŠatjinac’s 1970shortfilm). title of the feature isein Nicht alleswasfliegt Vogel (1978,sharingthe (‘Circus Master’,1981);and ABC’,1976);DerMeister(‘The Many’, 1974);Wortspiele (‘Word Game’,1975); Zirkus ABC acter’, 1973);Black Power (1973);Wirsindviele(‘We Are theMainChar Befreiung derHauptperson (‘Liberation of to Munich, Šajtinac continued to produce short films: (‘Triumph’, 1972). tation’, 1971):DonKihot(‘DonQuixote’, 1972);and Trijumf theGrandPrixat theAnnecyFestival; Iskusenje(‘Tempof - Bride’,1971),winner (‘The IsaBird’, 1970);Nevesta Flies quently released stoleti(‘NotEverything NijepticaThat sve Life’)incollaboration withNikolaMajdak.Hesubse - of letter went from ‘Š’to‘S’. By PhilippeMoins. Ranko Munitic´, ‘OffZagreb, Yugoslav Animated Film 1960–1980’, Animafilm8(1981):21. Borislav Sajtinac,e-mailmessage toGiannalbertoBendazzi,7November 2012. One consequencewasthat his lastname, originallypronounced ‘Shayteenats’, changed itspronunciation first to‘Sazhteenaak’. The n17,SokanFlpouto itiue hsaiae etr im oplto fallthefilmmaker’s previous shortsin In 1978,Stockmann-Filmproduktion distributed thisanimated feature film,acompilation of The artistabandonedfilm The for alongtimeanddevoted ‘[Hôtel 12étoiles]iswhat iscalledhere amultimedia When he emigrated toGermany,When heemigrated toEssenandlater first

(TeKle fMontmar Le tueurdeMontmartreKillerof (‘The Borislav Šajtinac,Hôtel12étoiles(’12-StarHotel’),2013. 50 He returned to animation in 2007 with the He returned 49 - - humour’. black rhythms mood within thestyle of and avisionary intensity, by of ent degrees speeded-uporslowed-down his filmsare characterized by sequencesshowing differ dark colours, gloomy spacesandgrotesque drawings; hisown, with create a‘poeticallyabsurd worldable to of scattered films. ing hiswriting, viewinghisdrawings, andwatching his Vian andothersurrealistscanbeappreciated by read - live-action features. ginal andsometimesprovocative films, even working in ever, more recently, Gomezhasstrayed intomore mar Gomez (b. 1956)andWilly Kempeneers (b. 1939).How- Servais, wasfollowed by otherartists, includingManuel itsbest-known master,animation Raoul andthework of fantastic and surrealistic veinThe that typified Belgian Belgium comics.’ ments of manipulated photographs, videos, archive footage and ele- According tothe criticRankoMunitic´, Sajtinacwas 52 Sjia’ upti soiia sta fBoris Sajtinac’s output is asoriginal that of 53 51 Chapter 3:Belgium

109 - - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 appeared. from Filmmakers the generation before 1990 Chicken RunandFantastic MisterFox. mas, andCorpseBride.KimKeukekeire (b. 1967)worked on worked onToy, Story productions.best international Guionne Leroy (b. 1967) the abroad andhadtheopportunity towork onsomeof would say, wasdegraded. auteurfilms changed and, some animation. notionof The including viewersfor even themostdemandingauteur the other. Therewasagrowing audiencefor animation, mation seemed smaller, withonesometimesinfluencing betweenandindustrialani- ades. gap independent The and 2010lookedcompletelydifferent from previous dec- tional animation aswell, thetwenty years between 1990 lished production facilities. and more interested films–andalsoestab- ingraduation festivals –whichductions tointernational becamemore restrictions. schools The regularly submittedstudentpro- cinema, seeingtheincentives rather thanthecreative interested inthe linkbetween animation and live-action were mostlyfrom avisualartsbackground, were more a particular skill. However after 1990, the teachers, who thanontheacquisitionof theartisticpersonality ment of visuels) hadalways beenfocused more onthedevelop- School inBrussels(Écolenational supérieure desarts klijke Academievoor Schone Kunsten) andLaCambre slant toauteuranimation. new generation camemainlyfrom schools andgave anew trial anderror orwork experience in scattered studios. The in Belgiananimation were self-taught,trainedthrough emerged. Itshouldberemembered thatbignames thefirst the1990s, untilanewgeneration ists at thebeginningof theJungle’, 1975). Shame of parodic styleseeninTarzoon, lahontedejungle (‘Tarzoon, la suite(‘SnowSequel’,2007)adoptedthe White:The brieflytoanimation.Thefeature returned Blanche neige were selectedfor the2007animation festival in Annecy. ShortFilmFestivalreleased during theInternational inLeuven. Itwasalsopresented at theAnimafestival inBrussels, andsomefilms andputbothanimation inthespotlight.InDecember 2006, poetry andpoetry theBelgian serieswas Flemish representative overview of opportunitiesfor young animators. Ontheother,slightly changed. Ontheonehand,itfocused more onthe creation of itprovided a Dicht/Vormthe modern, (2002)andDicht/Vorm Klassiekers (2005).SOILconceived was asimilarproject thoughtheconcept for Flanders, 110 54 The Il short Luster animatedprojectThe films based on Dutch the classics and ‘Closed/Form’ poetry: (Dicht/Vorm) comprised two series of In the field of animated shorts, a new kind of producer animated shorts, anewkind In thefieldof Additionally, afewyoung Belgiananimators went Given- thetechnical andeconomicchanges ininterna trainingatThe theKASKAcademy inGhent(Konin- any replacementart- There seemedtobelittlesignof 2) Picha (Jean-Paul Walravens, b. 1942,seeVol.

Chapter 3:Belgium Tim Burton’s Nightmare Before Christ- The The movementThe seems to have originated from La Cambre, the rangefrom features toadvertising. ics, Walking the Dog, Victor 3D, and Grid, worked across secret deKells).Some3Dstudios, including DigitalGraph- on aEuropean level, (LestriplettesdeBelleville ture animation, such asVivi films, active incoproductions including Jazzed (2009)by AntonSetola(b. 1976). exhibition structure, produced several shortsinthe2000s, bre school. Durin, Paul Jadoul, Jérémy Mazurek), allfrom theCam- frommakers Filmsdel’Enclume(ConstantinBeine, Rémi L’Ecrivain Writer’,, ‘The 2003),alongwithfilm- director of tefeuille Wallet’,, ‘The 2003);andFrits Standaert(b. 1964, LePor(b. 1969);Vincent Bierrewaerts(b. 1973,director of theseartistsinclude:CeciliaMarreiros Marum Some of to take the reins project.each on a personal one in turn work, while allowing it provided acertaincontinuity of Laure Totaro, 2010). way’, 2007and Mémoire fossile, ‘Fossil withAnne- Memory’, short films in this context (L’Évasion Geta - , ‘The director of a founder,The Demuynck (b. Arnaud 1966),washimself France orincoproduction withLumière orFolimage.of aid, incollaboration withitssistercompaniesinthenorth original policy. Itrelies oncross-border and/orregional by asimilarinitiative inthe Netherlands. Goethem alsoproduced theseriesDicht/Vorm , by Efim Perlis (b. 1974)andPieterEngels(b. 1974). Van (2005) by DanielWiroth (b. (2006) 1969),andLostCargo shorts asBzz(2000)by BenoîtFeroumont (b. 1969),Elegant newauteurs. encouraged theemergence of was still underfinanced, despite governmentThis aid. studentsandgive viabilitytoagenre former that pool of SOIL, andZorobabel were able todraw from thetalent Studios such asLaBoîteProductions, Lumière, LaParti, ers. However, from 2000real toappear. producers began had nootherchoice but tobecometheirown produc- Belgium showed acertainprowess inpuppetanimation. Finally, there were producers who concentrated onfea- Lumière, which isalsoadistribution andtheatrical artiststowhom Over time, LaBoîtebuilt upapoolof Based inBrussels, LaBoîteProductions developed an Geert Van Goethem’s company SOILproduced such Brendan etle 54 inspired - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 by Ted Parmelee. 57 56 55 Adventures (2010). cinemas, MetotheMoon (2008)andSamy’s includingFly studio Nwave hasmadefeature filmsin 3D for multiplex Belgian pioneers, BenStassen(1959)andhisteam.Their characters. of comicbook TVseries, exhibitingits catalogue field of house, DupuisAudiovisual followed anactive policyinthe audiovisual group. Alsolinkedtoawell-known publishing theDargaud longer strictlyastudio, but itwasstillpartof force inthe1960s, Belvisionwasno television. A driving themhave donesofor many years. some of animation tomany people, and have alltaughttheartof Stichting RaoulServais, ABC,Graphoui,andZorobabel as Caméraenfantsadmis, Blanc Murmure, Pantalone, also exported to many othercountries. Workshops such Belgian specialtyandfor decadestheseworkshops were nonprofessional adults. focus This oneducation isareal without mentioningtheworkshops for children, youth, and an originalscreenplay. feature in2009,inspired by theseriescharacters but with Parti), caused a sensation in the mid-2000s. It became a Panique (‘Panic au village in the Hamlet’, produced by La theirvitality.out losingany Onthecontrary, of theirseries show in1999), they converted topuppetanimation with- crazy cartoons(theirPicPicAndréwasavery successfulTV were specialcases. Afterwinningover audienceswiththeir ture for shootingpuppetanimation. 1969) andBenTesseur (b. 1975),there wasaproper struc- mation studio, created inBrusselsby Steven deBeul(b. workshop wasalsoactive withchildren. IntheBeastAni- per year, often(but notalways) inpuppetanimation. The fessionals and amateurs, produced at least one short film theBurtonaesthetic. with someof dark and tortured worlds Infuso (b. 1986), a creator of was constantlyresearching newideas, andwithGerlando rewaerts, ahighlyoriginalandunusualwho personality pet animation cametoprominence withVincent Bier Keukeleire, andGuionneLeroi, amongothers. Pup- with EricBlésin(b. 1969),ClaudeGrosch (b. 1966),Kim By HansWalther. Valérie Ganne, ‘Au Luxembourg, desstudiosdynamiques’, Écran total663,13June 2007. hsfl hudntb itknfrte15 P hr fthesamename. That wasnarrated filmshouldnotbemistaken version This for the1954UPA by JamesMasonanddirected shortof h neprpea etro stereoscopy alsohadits onceperipheralsectorof The We shouldalsomentioncommercial animation for Belgian animation would not be complete A survey of Vincent Patar (b. Aubier 1965)andStéphane (b. 1964) Zorobabel, aBrusselscollective bringingtogetherpro- - decades). by BelaLugosi(inavoice recording thoughtlostfor many AllanPoe(2005), basedonanEdgar andnarrated story stands out:theSpaniard RaúlGarcía’s Tell-Tale The Heart featurepation ininternational projects, oneauteurwork ple. InadditiontotheTVseriesfor children andpartici- always worked handinhand,employing about80peo- (one for actual production andtheotherathinktank) a littlelater Melusine Productions. two The companies 2008. Itchanged Picture its nametoThe Factory. becoming anautonomousproduction company inearly research. company’s The successledtoFabrique d’Images thecompany’swith BrunoMurer, graphics amainstay of same time, thetwodeveloped partners ‘homeprojects’ their projects, from scripts to the final images. At the their expertise and didn’t hesitate togive thempartsof created Fabrique d’images. Many producers relied on than twenty TV seriesandfour feature films. fivetheir first years, the two Luxcompaniesmademore seven toeightmillioneuros. In TV serieswithbudgets of Lilian Eche andArianePayen. They produced highbrow emte h ufcn fareal industrialplatform.’ thesurfacingof permitted . .] than 200professionals. Ourfinancingmechanism [. calculated that ‘theLuxemburg studiosgive work tomore theauthoritythat distributed thisaid,GuyDaleyden, of tion) bestowed by the government. In 2007, the director aides àl’audiovisuel(financialhelp for audio-visualproduc- national animation startedinthe early 1990swithsome very rich but onothercountries. structurallydependent Its Grand Dukeat thebeginning, Luxemburg wasfinancially A tiny (withonly450,000inhabitants)ruledby country the Luxemburg by independents. They showcase different animation styles is well known for itshigh-qualityanimated shortsmade lion people, hasnoreal animation industry. However, it - Netherlands,The crowded asmallcountry with16 mil The Netherlands In 1997 Stephan RoelantsIn 1997 Stephan founded Studio 352, and Also in2002,ChristineParisse andJean-Marie Music Lux Animation and LuxStudiowere created in2002by 56 Chapter 3:TheNetherlands 57

55 111 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 112 especially thosetargeted at television audiences. cially viable projects have beenmadewithprivate funds, occasional short finds alternative financing. More commer could nothave beenmadewithoutthissubsidy, thoughthe of animated films professionals. Dozens fied acommitteeof ing toparticipate, andalsoprovided that theproject satis- film hadaproducer, a distributor, atelevision network will- Fund offered subsidies for various projects, provided the counted animation asaseparatecategory. Dutch The Film designs. narrative andunique and explore exciting newkindsof used inDutch animation. Jesus, ismadeinpixilation, atechnique that isnotoften 1999). een Uil(‘Musicfor(1998), andKleinConcertvoor anOwl’, as andinventivevery personal work. hisolderfilms. Itisa realized, surrounded by fragmentsof tillheisfully rotoscoped work, van Dijk draws himself Short FilmAward at the1998Berlinale. Inthismainly cessful 2012)madeJanneke (1990)andthevery suc- December own history. thewindow intohis man who occasionallylooksoutof apiano-playing More’, of 1982),madeFuga(1996),astory had madeapromising start withhisNogEens(‘Once after 1990.HansNassenstein(b. DenHaag, 1939), who andgames. dios focusing on motiongraphics, theInternet Marieke, tonameafew. Otherstudentsstartedsmallstu- key, Lemonade, Urrebuk, MosquitoandJob, andJoris & Secrets, Carambolas, Ani- included Ka-Ching, Houseof tostarttheirowngraduating production companies. These Somestudentsteamedupwithclassmates curricula. after many artacademiesstartedincludinganimation intheir many newfacestoDutch animation, mainlybecause and acutethemesong. filmwasn’tThe ahugesuccess but hadsomenicemoments it waswrittenintheUKandentirely produced inChina. duced and directed by a Dutchman, Frank Fehmers, but because itwasfundedby Netherlanders’ money andpro- itsprojects Mission’,Star Bear:First 1991) asoneof NetherlandsThe cancountBeertjeSebastiaan(‘Sebastian 1983), directed by Frank Fehmers (b. Amstelveen, 1942). Bumble theBear’, jpt watikbedoel(‘Dexter theDragon & - Netherlands’The animated first feature wasAls je begri From 1998,thestate-supported Dutch FilmFund Ties Poeth (b. Tegelen, 1957)madesuch varied films 4 vanGerrit Dijk(Uden,5December 1938–Haarlem, Dutch animation stillmadefilms Many of old-timers brought thecentury two of The decadesaround theturn Joelfeest Carnaval (‘The Shout’,1994),LocLightLouis

Chapter 3:TheNetherlands I Move, SoI Am (1997),which won theGoldenBear (02,aottels aso A ShortPassion Play(2002),aboutthelastdays of - w nmtdfl n s h If’s extensive library.own animated filmandusetheNIAf Dutch astheAnimatie Ateliers, where they canmaketheir Roger,Hykade, Normand Purves. andBarry as Yuri GilAlkabetz,Paul Norstein, Driessen,Andreas from allaround theworld, featuring such famousnames holds various workshops andmasterclassesby specialists films, andartwork, andorganizes educational projects. It documentation, books, mated shorts, holdsanarchive of artists-in-residence program, produces anddistributes ani- mation Film(NIAf)wasfounded inTilburg. Ithasan animation. He continued his studies at the Dutch Film & animation. He continued his studies at the Dutch Film & design when hebecameinterested inphotography and cial parts. As withLokman’s otherfilms, sound and music play cru- acloudy skyinauniquefantasyworld. ing thebeautyof ing computer-animated films, such asForecast (2006),show- moved inFrance, tothecountryside but hecontinues mak- animation. In2003Lokman exploring theboundariesof live-action andcomputeranimation, again bination of Film Festival in2002.Lokman’s Shredder (2002)isacom- Prize at theAnnecyfestival andat theHollandAnimation 19 January 1960). Amongmany prizes, itwon theGrand Barcode (2001),madeby AdriaanLokman(b. Haarlem, the hecticworld asheis. until hemeetsalittlegirl who seemsjustasisolated from pace itseemsimpossible for himtoconnectwithanyone Teddy (2005), about an old man in a busy city. With his slow Adam andEve. AndréBergs (b. Ijsselstein,1979)made agiantturtlewho meets Drachten, of 1957)tellsthestory tioning. , Bobby’s Cowboy White Body,andEgoland. including The mationWorld, which madeseveral othertelevision series, a littlegirl namedSientje. serieswasproduced The by Ani- thesamename, tellingtheeveryday adventures of series of intoasuccessful television 1997 for bestshort, wasturned award at theNetherlands FilmFestival in Gouden Kalf Hood (2010)by SjaakRood (b. Obdam,1962). Brugge, Belgium,1976),andFast Forward LittleRedRiding (b.pers 1976), Jazzed Piershil, (2008)by AntonSetola(b. (b. Groesbeek, 1960), Shipwrecked (2005) by Frodo Kui- (b. Driebergen, 1973),Stiltwalkers (2002)by SjaakMeilink mation (1999)andScratch (2000)by Oerd van Cuijlenborg (1997) by ChristaMoesker(b. Groningen, 1967),Jazzi- u fthestudioscamesuch popularfilmsasSientje Out of artists-in-residenceThe work instudios, known in In September 1993, theNetherlands Institutefor Ani- In September 1993, Evert deBeijer(b. Driehuis, 1953)wasstudying graphic By farthemostsuccessfulcomputer-animated shortis Only afewcomputer-animated filmsare worth men- Moesker’s shortSientje,which won theprestigious Escape fromEscape Paradise (2001)by Freark Broersma (b.

Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 Harry RentsaRoom (1999)and such asHiskoHulsing’s Harry (b. Rotterdam, 1957),itproduces artistictheatrical shorts Amsterdam andRotterdam. Founded by Ruud denDrijver television, andcinemas.Internet, program for highschools andwere distributed through the aneducational Vorm Klassiekers (2005),were alsopartof and LiesbethWorm (b. Amsterdam, 1969). Amsterdam, 1974),Violette Belzer (b. Rotterdam, 1971), Lucette Braune (b. Houten,1976),BouwinePool (b. terdam, 1971), Sander Alt (b. Haarlemmermeer, 1971), (b.young Rot Dutch animators, such asJuan- deGraaf poems were animated.pairgave The experience tomany 25 Dutch two animated series, poetry in which a total of commissioned work andtelevision series. They produced shorts partlyfundedby theDutch FilmFund,but also produced over 50animated shorts, mainlyindependent produced shortin2000. jders theirfirst thetradefromfilms. Crama,RijkenandSni- Learning production company, Il Luster, specializing in animated decided to follow inCrama’s footstepsandstarttheirown (b. DeBilt,1968)andMichiel (b. Snijders Utrecht, 1972) in 1998:Paul Driessen’s Rijken 3Misses.In1996,Arnoud Crama (b. Leiden,1935),produced hislastanimated short and PietMondriaantakeshape. Johannes Vermeer, Francisco De Goya, Salvador Dalí, techniques, we seefamousworks by Hieronymus Bosch, (‘Famous Paintings’, 1996).Through different animation short films and combined them intoBeroemde Schilderijen Film Festival in1990. prizes, amongthemtheSpecialJury Prize at theCannes Gogh, inavery inventive way. Bedroom’ ‘The won several shows the bedroom at Arles, as painted by Vincent Van Bedroom’, (‘The 1990)runsoneminuteDe Slaapkamer and wasMaartenKoopmantors (b. Amsterdam, 1951).His tion inastylishandinnovative way. tion, translating his strong flat designs to computer anima- digitaltoolsletdeBeijercombine2Dand3Danima- The puter animation withCarCraze (2003)andGetReal(2010). - tocom last 2Dfilm,HotelNarcis (1994),andthenturned bycentury theDutch Animation Association. Hemadea thetwentieth was voted thebestDutch animated shortof through hisstrong designsandinventive cameraangles. Television Academy, andhisbackground canbeseen Cineventura was aproduction company located inboth series, poetry calledDicht/VormThe (2002)andDicht/ resumeTheir isimpressive. BasedinUtrecht, they have animation production, Nico DutchThe pioneer of Inspired by thissuccess, Koopman made11more Holland’s mostexperienced puppet anima- One of De Beijer’s filmDeKarakters 1986) Characters’, (‘The duction tousemotioncapture asthebasisfor animation. Amsterdam, Dutch 1958),itwasthefirst television pro- topics in a humorous way. Directed by Hans Walther (b. tured CGIcelebrities meetinabaranddiscussday-to-day five-minute program, washugelysuccessful. In it,carica- sophical conversations. turous walksinthewoods, eat pancakes, andhave philo- his loyal dogTungsten makeinventions, takelongadven- lives inasmallhousenearthewoods. and Coppernickel abird that wearsacapeand Reek, tellstheadventures of and waspopularwithbothchildren andadults. seriesevolved 12.The toamore professional level rate of andaframe 2000computerwithjust32colours an Amiga academy inRotterdam. serieswas originallydoneon The 1963), who knew each otherfrom theirstudiesat theart bana, Venezuela, 1964)andHansWessels (b. Rotterdam, 1989–1996),created by(‘Purno’, Marcus Vlaar(b. Judi - series madeby AnimationWorld, dePurno there was Purno the samename. career, when sheplayed Emmanuelle intheerotic filmof Kristel’s brings tolifetheParis artsceneat thestartof the actress Sylvia Kristel (b. Utrecht, 1952). 1973), andTopor etMoi(‘Topor andMe’,2004),directed by 1955), (‘Oblomov’s Cat’, 2006)by HansRichter (b. Amsterdam, Light Diaries(1997)by Juan deGraaf, DeKatvanOblomov However, events intoapsychedelic turn nightmare. hisdreams at thevillagefair. to connectwiththegirl of dam, 1971),atimid17-year-old constructionworker tries (2003).Inthelatter film Seventeen by Hulsing(b. Amster were madefor thispreschool computer animated series. Tree’, 2006–2010), and almost 200 five-minuteepisodes tale forest. ItwascalledSprookjesboomFairy (‘The Tale inspired aseriesaboutthedifferent inthefairy characters coming obstaclesandmeetingstrange peopleandanimals. During the26-partseriesthey togetbackhome, try over theworld by atyphoon. are blown totheothersideof Kika andthebrave but nottooclever fireman, Bob.They Bothof, isafast-pacedseriesabout asmartlittlegirl named combined 3Dwithtraditional2Danimation styles. Directed by Peter Lindhout(b. Leiden,1958),theseries day approaching, thetitlecharacter looksbackonhislife. a seriesaboutgayguineapig. With his fortieth birth- Targeted towards an adult audience, Colin (2007) was Café deWereld (‘CafétheWorld’, 2003–2006),adaily 2000),madeby (‘Coppernickel’, WouterKeepvogel van Dutch animated television seriesare ararity. Besidesthe Other shortsthat Cineventura produced includeRed Holland’s mostpopular themepark, theEfteling, Bob(2008),created byKika & Vincent BalandColette (2009) by Show Milan Hulsing (b.Magic Amsterdam, Chapter 3:TheNetherlands Topor and Me

113 - - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 eln h il tre fJelly andBro. telling thesillystoriesof popular live-action seriesTi-Ta Tovenaar (1972and2008), Furryburbles Have Fun’, 2010),spunofffrom the very EftelingalsoproducedThe DeGrobbebollen lol(‘The maken , Gap designerDaveand graphic McKean. LikeMindMy createdSandman saga, by British writer Neil Gaiman ments tofindnewinteractive onthe narrative forms Web. online presentation, theearly, suggesting goofyexperi - published inDutch from magazines, suffers its awkward novel, graphic andencounters.strange journeys The first Diddybob andBuddybob, involved are TVanchormen in ing down through aholeinthesky. maincharacters, The novelonline graphic . MindMyGap mythology,unique personal particularly developed inthe his works relate toa certainDavid Lynch films. Allof of thedark surrealist atmosphere his filmsare reminiscent of appearance isinspired by thedark andgothicmusic scene; ultimately fictional character around himself. Hispersonal ashy manwho builds anassertive and typical example of operation. the thealmostnaive sincerityof was bearable because of hisartisticexperience, but this at thecentre of put himself secret) brought arockstar-like narcissism toanimation. He warden, data 1969;hisreal are name and biographical Filmmaker, musician, andvisualartistRosto (b. Leeu- Rosto 114 60 59 58 York andYouTube, towhich more than23,000videoswere submitted. in the prestigious 25 winners YouTubeboek was one of Play Video contest, a collaboration Museum in New between Guggenheim The also studiedat theAcademie St. Joost with17shortfilms, andgraduated as well asherfinal examfilm,Noteboek (‘Notebook’,2008).Note- Creatures (2010),Kaaykshows future usan imaginary inwhich theworld ishitby acatastrophe. Evelineof Lohbeck(b. Rotterdam, 1983) Origin aboutadisease thatMetalosis Maligna(2006),another(very disturbing)mockumentary affectspatients withmedicalimplants. In The humans. Afterthat hemade thedestructive habits of this mockumentary, nature adoptedsomeof Kaayklooksat what mighthappen if (2005)asafinal exam studentfilm Order fortheAcademie St. Joost. Kaayk(b. Electrus In jams andbreaks. Floris Tiel,1982)madeThe LotteReiniger, theCinema(2008),inwhich we see behindtheprojectionwork screen when of asis Van afilm Schaaik’s Phantomof The the thefilmisalittle reminiscent of styleof theframetoleft.The fast-moving togetfrom clouds, therightof amanstruggles of a relative newcomer, madeVent (2004),which won numerous prizes festivals. at international Animatedabackground insilhouetteagainst Dordrecht, (2002),Penguin’s 1971) made Shadows Christmas(2004),andHard Boiled Chicken (2006).Erikvan Schaaik (b. Maartensdijk, 1968), (1989)andAFortified shortfilms, includingAtOneView Wilschut City(1990).Arjan de Nooijer(b. (b. Eindhoven, 1967)madeastringof short,calledT.R.A.N.S.I.TAmerica, hecompletedanotherindependent . (1997).Father andsonPaul (b. Eindhoven, 1943)andMenno his cartoony DaDA (1994),which won the award for bestfilm at AnimaMundiinBrazil1997.While working for thebigstudiosin By GiannalbertoBendazzi. By Giovanni Russo. A fewotherNetherlands animatorsmust bementioned.PietKroon (b. 1960)went ontohave Baarn, acareer intheUS, aftermaking Rosto’s operation seems especially inspired by the Here, Rosto asurrealword depicts withagianteye look- A sensitive despitehismauditlook,Rosto person isthe

Sandman wasnoteworthy for developing acoherent Chapter 3:TheNetherlands 59 58 ptm fagenre. of epitome 2004. Initsown way, itwastheultimate auteurfilm,the competition (plusanAcademy Award), between 2000and every GrandPrixat every festival at which itwasshown in animation at itsbest. butThere isalittletransgression, overall itismainstream sophisticated sound andlookhighproduction values. but it’s enjoyable asagoodgoth-metalrock songis, witha is maybeordisturbingasitwould notas deep liketobe, about ‘nasty illusions’ anda fascinating illusion in itself. It but fails. a holeinthesky;hetriestoreach theholeusingballoons footage. A man realizes thesunisagianteye from peeping paper, 2Dand3Dcomputeranimation, andlive-action Feverson. It uses many different techniques: drawings on Anglobilly the Legendary Rise and Fallfull-fledged film,The of hisworld. gil, theevil ‘God’of isacharacter inhisfilms, appearingas Vir Rosto himself hismyth, nature. According tothenarcissistic nature of ignoring theunderlying mythology addstotheirenigmatic as Gaiman’s. Hisfilms work visions; betterasindependent refined patchworks, clearly influenced Rosto’s films. index pages, andsoon,useddifferent techniques in thebooks, includingtypography,involved every detailof inner mythology. McKean’s sophisticated design–which Michael Dudokde Wit The masterpiece Father masterpiece The andDaughter(2000)harvested More ambitious isthesubsequentJona/Tomberry, afilm We Rosto’s seeVirgil first inthelive-action prologue of Rosto’s mythology isnotasdeveloped andinteresting 60 - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 rowboat, landscapes, images showThe recognizable human beings, bicycles, a technique The is traditional pencil and charcoal.again.’ years. Whenherlifeiseventually over, shecanhughim ter andleaves. for Sheawaits days, hisreturn seasons, standable ‘A story: father says goodbye tohisyoung daugh- stands:you filmtellsanunder cantrustit.This A classic been drained and transformed into grassy land(polders). intograssy been drainedand transformed we seehergrowing upandcomingbacktothesame bicycle still lies. thewind toreachgo against thetree where herfather’s going backtotheplacewhere thefather left.Shemust past, present, andfuture. We seethedaughter, achild, riding abicycle. bicycle, The especially, is thelinkbetween hisabsence, isconstantlyevoked by her the presence of thefather,her for herwhole orrather life. presence The of lossthat accompanies Wit perfectlydescribesthesenseof used for decadesinfilms, books, andcomics. know –but we are familiarwiththisnarrative procedure, Did shedieandjoinhimintheafterlife? We willnever she hadbeenlonging. Didshedream? Didshefantasize? younger, and sheeventually embracesthemanfor whom she sitsup;walks, sheruns, shebecomesyounger and a womb). Suddenly shefeelssomethingischanging and position inherfather’s sunkenrowboat (which lookslike bothcultivated andfolkloric themes. is tonal,withhintsof 61 Figure 3.14 The landscapesareThe typicallyDutch andhistoricallydatable. Since1932,and especiallysincetheearly 1950s, many Dutch have marshes h is opnn faclassicistobe reassuring. componentof first The A littleolder, shefacestheraininalonelyland.Then viewisremarkable. Dudokde daughter’sThe pointof endingshowsThe theolddaughterlyinginafetus-like

Michael DudokdeWit, Father andDaughter,2000. 61 water, music grass, rain,wind.The -

characters actandgesticulate inanexpressive staccato MonkandtheFish, Both inthisfilmandhisprevious The Dudok deWit hasaspecial talentfor creating movement. vation withoutrevolution. For instance, asananimator, inno- Like areal classic,Father andDaughterhasitsshare of resented ormodified by toomany collaborators. directed by whose oneperson, inspiration can’t bemisrep- serious message. Itiswritten,designed,animated, and entertaining orfillingsomeleisure timeanditalsohasa which theaudience is free or not. Itdoesn’t to accept mind ence; itconveys aspecialfeelingand specialappearance, like a poem or a painting. It doesn’t to please the audi- try linked nor linkable in a series. It is a one-of-a-kind work, genre, too. Anauteur film, Father andDaughterisneither previous momentsandawaited withadelicate suspense. reaches her father, isacute–itaptlyprepared for in the nostalgia,before thedaughter finally finalmomentof The by inawoman’s life, loneliness. inherconsciousorphan but liberating at theend.Timeistouching; timepasses ondly, allegro andskittish;mature inthe middle;andsad changes inducedby life’s seasons:at sad;sec- first, very eventually ameaningfuloldage. lossthrough memories, and awarenesswith adeeper of every season.Afteryoung love, sheexperiences maternity, adult inlove withaman.Lifegoeson,passingthrough girls, andasayoung place –asateenagerwithgroup of ‘Classic’ doesn’t mean‘traditional’or, worse, ‘déjàvu’. its own A classicisreassuring withintheboundariesof musicalThe variations gohandinwiththe Chapter 3:TheNetherlands

115 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 he-iuefl htsostemsdetrso three-minute filmthat Tomthe shows themisadventures of personality. tions, which he considered the real forge for his creative 1981 to2003heworked withRichard Purdum Produc- breaking offhisconnectionswiththeNetherlands. From smallstudios, untilhesettledinLondon,withoutever of . Interview film,The with hisfirst Art(Farnham,1978 from UK) West Surrey Collegeof studiedengravingfirst inGenevagraduated in andthen n etlilesbttenm fastandardized musical theme. ing mentalillnessbut the nameof sonatas andtriosonatas. ‘LaFollia’ isintheSonataOpus5.Although‘follia’ means‘madness’ inItalian,thiswasnotanattempt at describ- giving shape to the Concerto Grosso. All his creations are included in six opus numbers; they are mostly devoted to serious and popular 116 66 65 64 63 62 r o ot h yso theaudience.’ are notsotothe eyes of your film, you may findouttoo late that yourclearvisions you work alone on how tobeclear and understandable. If cials] give you continuous feedback,andyou canlearn talent. [Commercials were] my real training. [Commer my toimprove my skillsandpushthelimitsof I needed socommercials werea talentedone, thepractice I think, popular tune. tribution, especially in manipulating an old, melancholic sentimental film.’Normand Roger madeamasterfulcon- sentiment,I don’t butabove wanta all film withalotof Roger,relied onstalwart Normand tellinghim,‘Iwanta when working films). onhispersonal For thesoundhe the sound(heplays thepianoandalways listens tomusic it’s trueandbeautiful. explanation more uptothefeelingsI wanted toconvey.’ Itmightbean this, thefilmmakerpatiently repeated: ‘An adolescentis the child hehadleftat thebeginning. Whenaskedabout and thedaughtereventually hug, she’s anadolescent,not more humanandclosertothespectator. Whenthefather thissubtledrama. so eloquentasinthefinalsequenceof lightonthecharacters isneverwhen harsh needed.The subtle vibration that emphasize emotionsandatmosphere and airbrush,withsome granularity the possibilitiesof style notseenbefore. digitalcolouringimproves The on Bucharest in1880. By Ulrich Wegenast. Nina Stipetic´, ‘Animation IsBloody Hard Work’, Animation FilmFestival International Zagreb Festivalnews (2004):7. A littlemantriestointerviewvarious peopleandfindsitdifficulttoobtainanswers. Screened attheAnnecy Festival in1979. The tune’sThe titleisValurile Danube’s Dunari(‘The Waves’), Ivanovici (1845–1902). published Itwasfirst in by Romanian composerIosif eg estwstetlne uiino Folimage.Serge Arcangelo Bessetwasthetalented musician Corelli of (1653–1713)wasan Italian composerandviolinist,famousfor In 1992hecreated thepilotfilmTom Bin,a The Sweep: He thenspentayear inBarcelona, working for acouple Dudok deWit (b. Abcoude, Netherlands, 15July 1953) uo eWtwsi hreo everything, including Dudok De Wit was in charge of There iseven amistake, which makestheperfection

Chapter 3:Germany R after o achoice madeinstinctively,a posterioriof but 62 63 ‘Mystudentfilmwasnot eunification 64 - Corelli’s Arcangelo 1994), basedonaSerge Bessetadaptation of was that hadaprogram for artists-in-residence. Hisnext film tact withFolimage, theValence-based production company except serieswasnotgiven inthebin.The light. thegreen whoters drive himmadby throwing everywhere garbage There isonlyTom, thetrashcan,andvarious charac- asparsely-drawnbackground. takesplaceagainst story hisneighbourhoodclean.The dustman ashetriestokeep was aprofessor at theHFGOffenbach. (DFFB) asearly asthelate 1960s. From 1985to2000,he Filmand Televisionat theGerman Academy inBerlin Helmut Herbst.Herbststarted withateaching assignment thisgeneration were Franz Winzentsen and directors of themostimportant themwere collegeteachers. Two of of 1960s andwere strongly linkedtoexperimental film.Most with anoticeable impactonanimation startedwork inthe early 1980s, before thereunification.The main filmmakers inthe There wasaboominanimated filminGermany Germany afterReunification trator, reputation, a41-year-oldinternational ‘discovery’. numerous prizes includingaCésar, andgave itsauthoran itual journey. filmwasnominated This for anOscar, won in every possible way, leadingbothcharacters onaspir with asumptuousaqueduct,monktriestocapture afish really challenging –afeature film. all dot’s abstractnavigation issometimescaptivating, but in ‘deWit’sThe way tomovement’ iseasilyrecognizable, the throughagain) unreal landscapes, allpaintedwithtea. small dotmoves rhythmically withthemusic (by Corelli, past titles:it’s anabstractthree-minute work inwhich a wrong-footed. significantlyers filmdiffers fromhis The In themeantime, thefilmmakerhadestablished acon- After h rm fTea before seemsadivertissement something Aroma of The (‘The MonkandtheFish’,France,Le moineetlepoisson(‘The h rm fTea (2006)leftDudokdeWit’s Aroma of admir The adlt fwork asabookillus- Father andDaughterlotsof La follia. 65 InaRomanic monastery, equipped 66 - - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 Morir deAmor(2004)by (‘_Grey’, GilAlkabetz, _grau 2004) im Gras (‘We Lived In Grass’,1995)by Andreas Hykade, two BalanceandQuest , aswell Oscarwinners asWirlebten the early 1990s. Amongtheaward-winning films were the tion MasterClassinHalle. Animation School, Hamburg and the European Anima- offered programmes infilmanimation, degree such asthe supervised by Raimund Krumme. Several private colleges mediaartsandfilmproduction. Inthe2000s, itwas of Arts inCologne, founded in1990,isat theinterface in hiscapacityasteacher. PaulDriessen Both films were produced undertheaegisof Wolfgang Schröter, b. Miltenberg, 1967)withQuest(1996). mach (b. Straubing, 1965)andTyron (a.k.a. Montgomery Academy Award Stell - withBalance(1989),asdidThomas Lauenstein (b.gang won Hildesheim, 20 March 1962) an Art,thetwinbrothers ChristophandWolf- sel Collegeof MediaArtsinCologne.- AttheKas and theCollegeof Art(since1979) programmes atCollegeof theKassel Gil Alkabetztaughtthere. grams. ChristinaSchindler andtheIsraelianimation artist theworld’s mostsuccessfulanimation pro degree - one of inthemid-1980s.sion Academy Itoffered Konrad Wolf screenwriter Daniel Nocke. younger generation, includingtheanimation director and and hisexperience inliterature. Hehelpedshapethe original styledeveloped from painting, hislaconichumour, mation artistslike Jochen Kuhn from Hamburg, withhis leading educational facilitiesfor filmanimation. theworld’s Institute for Film Animation becameoneof emy was spun off from the cartoon class.The academy’s In theearly 1990s, theBaden-Württemberg FilmAcad- Meyer-Hermann,Thomas andGilAlkabetzstudiedthere. in 1977.Animation directorssuch asAndreas Hykade, FineArts, established by Albrecht Ade lic Academy of Pub- the Stuttgart was made by the cartoon class of film, invigorating thefine-artanimation inGermany. creation through abstractfilm,videoclips, andcollage schoolssen taught.The encouragedinnovative meansof HFG Offenbach andtheHfbKHamburg, where Winzent- Among theimportantcollegesinmid-1980swere the the of Art Animated Film Began The GermanColleges: Where h ubro schools ledtoananimation boomfrom numberThe of Media animationThe programme at theCollegeof Other very successfulschools includedtheanimation An animation faculty wascreated Televi at theFilm & - teachingThe staff at theFilmAcademy included ani- thisform A majorcontribution tothedevelopment of are literallyanimated paintings. Gockell filmsasMiles, (1993),likeWinter’s SoWhat! films, associated withpaintingthanclassiccartoons. Such many techniques infilmmaking that are usuallymore animated film, alsouses German of (2000), onthehistory &Sarotti outstanding animatedMuratti documentary applied andliberalarts. many animation directors, shecanbeplacedbetween the design andliberalartsat theHBKBraunschweig. Like tion studio, Anigraf, inHannover. Shestudiedgraphic animation techniques inherproduc- tested anumber of motion picture and static picture. ries between abstraction and representation, orbetween animated films are topainting.There are nosetbounda- filmpointsouthow The closemany German Chernin. composer and pianist Elena Kats- insight into the work of painting andphotography andprovides anassociative Winter’s music withatechno beat. Musicplays amajorrole in drawn-on-film technique, addingself-composedelectronic abstract especially painting. heritage, which isdirectly connected to the fine arts, and Winter andNeubauerdealcarefully withthiscinematic film. theGerman tributed reputation totheglobal of oldabstractfilms,Those thencalled‘absolutefilm’,con- the1920s. methods, tracingbacktotheavant-garde of their work. who continuously promoted animated filmculture with directors such Winter, asBärbelNeubauerandKirsten animation independent thecollegesbut alsoof not onlyof animated film is anachievement German success of The Animated Film The Renewal ofthe Abstract Bitzer, andIlijaBrunck. by Robert Seidel,and458nm(2006)by Tom Weber, Jan productions. MusicianFelix Kubin adds thesoundtrack, Music plays an important role in Mariola Brillowska’s and Animation Underground, Subversion, e ogieprnrGr okl,poue fthe Her longtimepartnerGerd Gockell,producer of Together withGerd Gockell,Winter developed and At thesametime, they addedsomenewaspects. Inthe Neubauer andWinter especiallyusedexperimental Feuerhaus (‘Fire House’,1998) Neubauerusesthe (95,aclaeo material that animates Clocks (1995),acollageof Chapter 3:Germany Reunification after

117 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 118 Figure 3.15 troops.) shows theSpanish population runningfrom Napoleonic cycle etching (#44).(The graphic Losdesastres dela guerra Goya. title Yo The Goya’s Lo Vi is taken from an etching of and comparably associative, film response to Francisco de It’, 2003)isthesuccessfulattempt tocreate a convincing, humour. in aquitesatisfying fashion,combinedwithsubversive reproducible media ties in the media and the aesthetics of Window’) from 1998.Intheirfilmsthey finddiscontinui - reflect on the media, such asDas dritte Fenster Third (‘The striking back!’inthemid-1980s. filmsanalyze Their and Super 8movies andthebattle cry, ‘We are theaudience from Hamburg, theirfilmproduction began withanarchic Europeanwith absurd humour. Eastern animated filmmaker Priit combiningstrikingpopart Pärn, the Estonian occasionally resembles the satirical work of often crashing the show. Her colourful and gaudy style aret. Polish-born The marshal, Brillowska actsasgrand revue andcab- to thestage, too, of inavery specialform brazenly breaking taboos. Hercreative film work madeit oursociety, sciencefiction, likecontemporary doscope of thepresent time. ButBrillowska’s filmsare akalei- tion of topics wander around lust and are a bizarre fictionaliza- related totheunderground comic-bookculture. the 1920s. They are, rather,the avant-garde traditionof the team.However, Brillowska’s movies donotrefer to author andsingerMaxGoldt(Foyer desArts)wasalsoon her films. For Derfalsche Wrong Spieler(‘The Player’), the which is on an equal footing with the visuals, in many of Their filmYoTheir LoVi(titleinSpanishmeaning‘ISaw Hanna Nordholt andFritz Steingrobe, anartistcouple glance, At first her works appearshrillandabsurd; the

Chapter 3:Germany R after

Gil Alkabetz,MorirdeAmor , 2004. eunification addiction tothegrotesque, usingcomputeranimation. aesthetic; they successfullyrevive hiscomplex artandhis in the 1930s. However, Goya’s they didn’t lose track of the early andtheSpanishCivilWar nineteenthcentury Spanish insurgents the fighting against French troops in tion than a direct linkthe illustration. filmmakers The approach to Goya’s work and his creative and social posi- ters inhismovies,ters takenfrom totallydifferent backgrounds abundance either. charac- He created his own universe of Run’, 1997–1998). successfulfeaturethe internationally Lolarennt (‘Run Lola know Alkabetz mainly from hisanimated contribution to subtle andabsurd humour. Regular probably filmgoers nomic andvery effective narrationandpresentation with and his ellipticalstorytelling. InYankale (1995),Rubicon as onestylisticdevice amongstmany. Healsoextends itto (2005). However, Alkabetz does notsimplyusereduction used silhouettesinhisaward-winning OurManinNirvana techniques inhisearly filmSwamp(1991).Jan Koester also LotteReiniger’s silhouette who usedandenhanced oneof and characters. even thoughthesefilmsdevelop cartoon-likestructures cartoonaestheticsarethe typicalcartoon.The reduced, is oftenmore closly related tothefineartsthan itisto animated shortfilm bottomline is thatThe theGerman Reduction Nordholt andSteingrobe’s film,however, ismore an Alkabetz’s fellow studentAndreas Hykadedoesn’t like reduction isGilAlkabetz, thiskindof One masterof Morir deAmor(2004),GilAlkabetzcombinesaneco- (1997), Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 been famous for two centuries in German-speaking countries.been famousfor They two include DaskalteHerz. centuriesinGerman-speaking 67 tive andspatial perception in avirtuosoway. are alsofashionable compositions, playing- with perspec simply brittlefinger exercises andmotionstudies.They Kreuzung (‘Crossroads’, 1991),andPassage (1994)are not only a few strokes. Seiltänzer (‘Rope Dancer’, 1986), mostly black andwhite, producing figurative motionwith minimalism inanimation totheextreme. Hisfilmsare hissuccess. of band DietotenHosenare proof award-winning punkrock music videosfor theGerman (‘Tom & Jam theStrawberry Bread’, from 2005)andhis style. Hisanimation seriesTom & dasErdbeermarmeladenbrot ics, creating andrecognizable acompletelyindependent believable. visual attributes, yet they are recognizable andemotionally ture theviewer’s characters makedowithfew mind.The for living, hissight-and-sounduniverse expanding, allcap- its detailswould takedays, but itspower, Hykade’s hunger tive isnonlinearandassociative. To explore andexplain Japan’s Yoji Kuri. As in ‘We Lived- In Grass’, the narra sexual fantasy, the nature in the manner of tigation of it is a dark a spaghetti western; inves- of in the form format characters. and psychologically empathetic storieswithvery simple ‘We Lived InGrass’must findtheway tohis own life. initiation ceremony, a kindof whereas theprotagonist of shortsaward Runt’ in2007.‘The won theGerman isabout like Hykade’s laterRunt’, DerKloane(‘The 1996),which identity, richgrowing inmetaphors. Itisafilmabout up, pressed sexuality. marked by ecclesiasticalrepression, family, andsup- thefilmbecomesalmostphysical, depressing settingof Childlike fantasiesandreality becomeblurred. The one-dimensional autobiography oralinearnarrative. Hykade’s childhood inUpperBavaria withoutbeinga filmportraysFilm. The adisturbingconfrontation with Animatedcedes BenzAward atFestival theStuttgart of 1995) washonoured, amongothers, withtheMer theVirgin Mary.and itspractices, especiallythecultof in Altöttingandfrom upwithCatholicism infancygrew Alkabetz.Hykadewasborn theIsraeli-born than thoseof During his short but prolific life (1802–1827), Hauff wrote – among many other things – a collection of Märchen (fables), whichDuring hisshortbut prolific life(1802–1827),Hauff have wrote –among many otherthings–acollection ntemte freduction, Raimund Krummecarries In thematter of Hykade combinesuniversality withactive- graph In all his films, Hykade finds ways totell highlycomplex findingone’s own ‘We Lived of InGrass’isalsoastory His shortWirlebtenimGras (‘We Lived InGrass’, igo Fire (2000)ispresented incinemascope Ring of Die - based on a short story bybased onashortstory Wilhelm Hauff. and UPA style. ColdHeart’,2013)is DaskalteHerz(‘The style but equallyemphasizes expressionism, artnouveau, thecomic-book wide. Hiswork shows theinfluenceof Erlking’,Erlkönig (‘The 2003) won numerous prizes world- fessor. Raven’, HisfilmsDerRaben(‘The 1999)andDer illustrator, animation director, comic-bookartist,andpro- and 1925akaHell(2012). standing filmsasCollision(2005),Spin(2010),Shift(2012), audiovisual (2007–2015) and for such out- performances bothwith liveabstract animator, madeaname for himself dailylife. absurdities of musical parables onsocialinteractionandtheincreasing abstractand (2000)offers Message its failure. HisshortThe well. His narratives are mostly about communication and the animation superlative. him andhis wife from narration iscaptivating, ruin.The theforest andonlyanothergood-heartedspiritcansave of and naive charcoal-burner strikesadealwithanevil spirit roads’), 1991. Figure 3.16 eso ceto;hsfcsi o ntecmltdpeeo creation; hisfocus isnotonthecompleted pieceof cess of have a few animated phases. Kuhn is interested in the pro- thing tobemeticulouslyanimated andhisfilmsoftenonly static picture tomoving picture. Kuhn doesnotwantevery- a different way. Hisanimated films goback and forth, from Jochen Kuhn alsoseeksaminimalistic approach, albeitin Reflection andNarrative ansRl b üign coe 1965)wasan Hannes Rall(b. Tübingen,4October awandering Max Hattler (b. Ulm,2February 1976), For Krumme, theanimated spaceisnarrative spaceas

Chapter 3:Germany Reunification after Raimund Krumme, DieKreuzung (‘Cr 67 Anambitious

oss- 119 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 120 Figure 3.17 pets are gnarly andbizarre, comparable tothegrotesque animation pup- are The too peculiarandindependent. puppet artist intheusualsense. Hismethodsanduseof and polished. stays away from computeranimation that istoosmooth television. Byusinganapparently runningcamera,Nocke reality tion between animalroommates, inthemannerof a cunningplay withgenres, animating afatal conversa- for Gerold’ isnotatypicalcomputer-animated film but 2006) won the prestigious Short Tiger award. ‘No Space animated film,KeinPlatzfürGerold (‘NoSpacefor Gerold’, also agiftedscreenwriter. 3D-rendered Hisfirst computer- maker withanemphasisonpuppetanimation, Nockeis similar laconichumour. Besidesbeingananimated film- tender reconciliation. ended, leaving banalities, embarrassments, andanalmost ideologiesand religionsseemsto have film, thebattle of dent Erich Honecker–inhisunpretentious way. Inthe –Popehistory John presi- Paul EastGerman II,former recent though, Jochen Kuhn bringsupgreat peopleof ourlives. banalities that show theupsanddowns of occurrences, pleasantembarrassments, andapparent sible for themusic. His micro-stories are abouteveryday hisfilmsandheisalso respon- sonorously narratesmostof observation. He great narratorwithdistinctive powers of the Producer’, 1985)show hissubtlehumour. Kuhn isa andieProduzentin (‘Letterto ing Machine’, 1989)andBrief theAnswer Such titlesasLobdesAnrufbeantworters (‘Praiseof thisartisticprocesscarried totheextreme inExit(2008). constantly erasedoraltered by thefollowing picture. He African animator William Kentridge, Kuhn’s paintingsare of South pictures. Similartothe work art but ontheflow of Nocke’s puppetfilmsshow that heisnotananimation Jochen Kuhn’sDaniel Nocke, oneof students, has a DieBeichteConfession’, (‘The 1990), In thecaseof However, Kuhn’s films are notaesthetic experiments.

Chapter 3:Germany R after

(‘The ColdHeart’),2013. Hannes Rall,DaskalteHerz(‘The eunification -

ner, andHeidi Wittlinger reputation enhancedthe global the filmdistinctive andbreathtaking. thestudio. Itwasexactly thismethodthat made ment of puppets intheopenair, outsidethecontrolled environ- was tricky;theanimation wasdonewithspring-mounted and power, compressed intonineminutes. Itsproduction en’s percussionist, F. M.Einheit.Itisaparable onsexuality Einstürzende Neubaut- to themetallic-soundingmusic of ical theatre. Itshows afightbetween a rooster andhens, set almost physically. staging ispowerful andenergetic, involving theaudience hispuppet films, which are rough and impetuous. His of Ubu Jarry’s Père pendent animated puppetfilmadaptation of Müller, and Alfred Jarry. For example, Sabl made an inde- rience andby includingSamuel authors Beckett,Heiner animation. His films are influenced byhistheatre expe- dio inDresden, thenwentArtCollegetostudy toKassel Drama School andlater worked at theanimated filmstu- quite different. Sabl studiedpuppetry attheEastBerlin Heinrich Sabl’s approach totheanimated puppetfilmis Puppet Animation of The Art but hisunwelcome actionsleadtoruin. Samaritan attempts toimposehishelponneighbours, Good his 1999Trösterkrise (‘Comforters’Crisis’),akindof socialinteractionandbarely visible socialcontrol. In of hisfilmsare aboutthesubtlecomplexities 1970s. Allof peopleinthe in theMiddleAges, talkinthemannerof feature his animated focus on dialogues. protagonists The of Thomas sculptor Schütte. Hisfilms German figures of (‘The Wheel’,2001)byDas Rad(‘The ArvidUibel,ChrisSten - mechan - Cock’,1995)isaspecialkindof Der Hahn(‘The . Sabl’s theatre background isreflected inthevitality Der Peitschenmeister WhipMaster’,1998),set (‘The Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 Periwig-Maker (1999) im Traumland (‘Sandman–Adventures inDreamland’, 2010). puppet feature sinceWorld War II,Sandmännchen –Abenteuer animated puppet andclay animation,German made thefirst Frankfurt-based company ScopasMedienAG, specializingin animated puppetfilm.Meanwhile, theGerman the of 70 69 68 Balance Artistic animation haditsbreakthrough with inGermany Winning Students Furniss wrote: Furniss order AmericancriticMaureen toescapeinfection.The off in amedieval plague-infested London in seals himself his abilitiesinmany shorts andinthefeature Blaubär(‘CaptainBlaubär’, 1999). Käpt’n Based on a children’s book by the Alsatian draftsman and illustrator Tomi Ungerer and directed by Hayo Freitag. Freitag had revealed Maureen ‘Fresh Furniss, from theFestivals: December 2000’s FilmReviews’, AnimationWorld 5,no. 9 Magazine (December 2000). Although conceived andmadeinGermany, thefilmwas(andstillis)mistaken for aBritish film. Steffen Schäffler (b. Trier, 1968)madeafilmcalledThe eo’ ora fthePlagueYear.Defoe’s AJournal of ducer AnnetteSchäffler. wasbasedonDaniel The story which thedirector founded in1994withsisterandpro - period at Schäffler’s Berlin studio, IdealStandard Film, candles, afireplaceandother sources. with animated objects, real flamesprovided lightfrom 1:5;thelargest puppetmeasured 36 cm. Along scale of were ona inEngland built Saunders by Mackinnon & riors. Wigs were hand-madefrom mohair. puppets The polyurethane foam, silicone rubber and foam latex exte- under metalarmatures were moved through theuseof puppets’ faces were moveable. puppets themselves The to create the expressions. Onlytheeyes andeyelids of relying onbody movements rather thanfacialchanges usedaminimalistapproachmakers topuppetmaking, miniature work. detailed vidual miniature bricksandotherexamples of indi- contain handmadeandfittedtiles, wallsmadeof tains eleven housesbasedonhistorical drawings, which measured wideby 4.5meters long. 10meters Itcon- false perspective, which is given with the use of depth London in which the action occurs. entire The set, of andtheLondonBridgethroughthe Thames thestreets the viewer from anexterior that includesthewater of trackingshotopensthefilm,taking in thefilm.A long Impressive setsandprops lendagreat dealtothevisuals The 15-minuteThe film wascreated over asix-year Influenced Jirˇíby thelegendary thefilm- Trnka, (1989) by the Lauensteinbrothers. Ithaseverything 68 ta el h tr famanwho thatof tellsthestory 69

escape hisfate. saw throwing Iron. Hecannot outsparks intheWorld of iron, paper, etc.)andisfacedwithperilssuch asabuzz looking for water goesthrough different materials (rock, A sandman game. avideo film, following thelogicof Stellmach’sand Thomas work isananimated puppet completed atArtCollege. Kassel mation history, wasstartedat theHfbKHamburg and ani- ance, astudentproject that isconsidered aniconof pictoriallyannotating thehumancondition.Bal- way of hisdays. it untiltheendof sole survivor the disc. The can only watch at the far end of themenhasfallen,suitcaseisunreachable but oneof balance. Afterall and puttingtheentire discworld outof Every manwantstopossessit,causingaludicrous fight unstable disc inadark universe. In their midst is asuitcase. ryline, extraordinary artwork, andprecise timing. an animated film requires: acompressed anduniversal sto- (‘The ThreeRobbers’,ber (‘The 2007) (Cartoon FilmBerlin) andPietdeRycker. Diedrei Räu- Rothkirch China andreleased in2009)by Graf Thilo in2004,thesecondcoproducedfilms (thefirst with Little Polar Bear’, 2001 and 2005) and the Laura’s Star audience:DerkleineEisbär1and2(‘The an international get audience. filmsthat Therewere reached charming trate onyoung children asthetar (andtheirmothers) areas. German-speaking occasionally flat andtrivialwashard toselloutside to adult-only, but large, audiences. humour is Their by Michael Schaack andVeit Vollmer, were restricted Hahn, andDaskleineArschloch LittleBastard’, (‘The 1997) (‘Werner – Hard As Bone!’, 1990), by producer Gerhard successful, creatively andcommercially. Werner –Beinhart! Animated films made after the reunification became more Productions MovieAnimated Theatre Humourous Germany? Quest wasalsocreated atTyron Kassel. Montgomery theanimated filmliesinthisconcise strengthThe of plot is simple yetThe complex. Five men stand on an Feature film animation to concen- subsequently began Chapter 3:Germany Reunification after 70 wasaclassiccartoon

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Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 122 72 71 Animals’Conference’,(‘The 2010). at FullThrottle’, 2008),andDieKonferenz(‘Urmel derTiere inFahrt voll from theIce’,2006), Urmel aus demEis(‘Urmel feature-length CGIfilms, includingUrmel duced astringof tainment, which wasresponsible for itsproduction, pro- Holger Tappe’s Hannover-based company Ambient Enter ( Lenard Krawinkel’s Back to Gaya Animation at theBaden-Württemberg FilmAcademy.of by, theInstitute Haegele, amongothers, Thomas headof became more and more important.Itwasencouraged From themid-1990s, computer-aided 3Danimation Computer Animations New Form of3D-Rendered the Hamburg-based Trickcompany andToons ‘n’ Tales. period, however, andsomeeven hadtogive up, such as the audienceaward at Annecy. man animated film ever released tocinemas, andit won 700,000 inFrance. madeitthemostsuccessful Ger This commercial and reached hit inGermany anaudienceof feature by AnimationSchesch. XandStephan Itwasa magnetic resonance imaging(MRI). ing software was notsufficient forSeidel;heusedmedical Theusual3D atrafficaccident. render memoriesof of and three-dimensional spaces, visualizing the fragments achieves extraordinary picturesque effectsbetween two- (‘_Grey’, 2004)combinesartandtechnology. film The animated short films. Robert Seidel’s abstract_grau impermanence: with aquotation from on apoemby Storm Theodor a rather figurative but also experimental film.Itbegins biological behaviour patterns. in real time,abstract forms and exploring organic forms the avant-garde 1920s tradition but dynamizes the use of and prompt him to find his own history. ‘_Grey’ makes breathing pictures that a reaction trigger in the observer tance tothefactthat itwasnotsimplyabstractpictures but By GiannalbertoBendazzi. Microcosmos, lepeupledel’herbe,directed by MariePérennou andClaudeNuridsany, France, 1996. Numerous experiments were conductedwithcomputer- bigcomputer-aided first animated 3D The movie was Some companiesfaceddifficulttimesduringthis While producing thefilm,Seidel greatattached impor 458nm by Tom Weber, Jan Bitzer, andIlijaBrunckis

Chapter 3:Germany R after eunification 2004). Subsequently, - - - -

xoue fplantsandstonesdirectly onprintstock. exposures of less rhythmic music andsound.Itwascreated by flashlight leaves and stones, stalksandvegetable veins, linkedtono few people realized that. It uses rapid, rhythmic images of itscentury, although thebestanimated very filmsof of by thenature filmMicrocosmos. Baden-Württemberg were inspired Film Academy of to pulsating electronic music. studentsfrom The the are across between robots andbiologicalcreatures – Bärbel Neubauer esting time for German animation. esting timefor German the1920s, tyinginwith probably themostinter films’ of are –sometimes unknowingly–connectedtothe‘absolute heavy onmusic, usingonlyasmalldata volume. They many. Demoscene’s animations are oftenabstractand the 1980s, was very active in Ger hacker movement of resemble aesthetics. typicalgame game was Friedrich Kirschner. Hiswork wasbasedonthevideo thisgenre themostinteresting representatives of One of ing computer-aided animated films on a no-budget basis. technoaesthetics. humans, animals, andmachines andgenerating anew romance,rary exploring theblurringlinesbetween apparently tokiss. filmisacontempo- trying Their Maureen Furniss wrote:Maureen Furniss The five-minuteThe Feuerhaus (‘Firehouse’, 1998) wasone An infatuated conflictarisesbetween two snails–they The so-calledDemoscene,The which originated inthe A Machinima scene originated in thelate 1990s, creat- are primarilyabstractinnature, thoughrecognizable bauer’s direct-on-film animations, imagesinFirehouse Neu- this soundtrackworks withherimages. Likeallof score shehascomposedfor it,andtheway inwhich the lively,realized films, in part because of intriguing Neubauer’sTo mostfully- my mind,Firehouse isoneof This beautifulworld willperish. This Covered by scentandtwilight, Has seenyour silenthappiness; A forest engulfed by fog, Unreal Tournament result,. The however, does not 72 71 which shows two snails - -

Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 than 1,800fade-ins. ItdividedNeubauer’s friends: some painted withoilpastelsonpaper andcontainedmore 1984’s action filmsin1980.Shesays: Vienna, where writingpoemsandmakinglive- shebegan 1959. She studied stage design and film in on 22 April 75 74 73 Figure 3.18 www.awn.com/mag/issue4.09/4.09pages/4.09festival.php3. Maureen ‘Fresh Furniss, from theFestivals: December 1999’s FilmReviews’, AnimationWorld 4,no. 9 Magazine (December 1999). http:// Bärbel Neubauer, notesgiven autobiographical toGiannalberto Bendazziin2005. Bärbel Neubauer, notesgiven autobiographical toGiannalberto Bendazziin2005. Neubauer’s abstract film was made a first year later, inKlagenfurt (Austria) Bärbel Neubauerwasborn tive animation film,AngelikaandFerdinand . how to set light. Soon after that, I made my figura- first minetaughtmehow tousethecameraand A friend of everything on my own.So from the beginning I learnt make mygave filminstead,though he meallthepapers. design wastaught)hadallowed menottocome, and stagedesign and film (in fact,only stage the class of of It waspartlyabstract,figurative.The professor my room frames. andshootingthesingle on thewallof In 1983I made my animation first film,OH,by painting the direct-on-film technique. the mostproductive andinnovative artistspecializingin appearfrom timetotime.forms [. . .] Worldwide, sheis (‘The MoonandtheTiger’).Itwas Mond undTiger(‘The

Bärbel Neubauer, Feuerhaus (‘Firehouse’), 1998. 73 74 fthe past(and,for theaverage festivalgoer,of there were no ema and direct-on-film cinema had been considered tools hnsecmoe h ontako her films. She said: she composed the soundtrack of Then music. bauer boughtasaxophone andtaughtherself exclusively inthedirect-on-film technique. In1990,Neu- period startedintheearly 1990s, inwhich sheworked live-action andanimation. characterized by extremely varied experiments, bothin herfilmmaking, recollections, periodof thiswasthefirst black humour, stories, andfigurative films. InNeubauer’s wanted hertobeanabstractfilmmaker, wantedher others ‘Firehouse’ waslittleseen.Sincethe1960s, abstract cin- In 1987 she moved to Munich, Germany. Her second in 1998I hadexplored many direct filmtechniques. my work. With Firehouse [the] contentandstructure of creation. music The ismuch quickertodo, anddefines it varied: itbecameadialoguethroughout the periodof it changed. from InRoots , thesoundwasfirst; thenon, andthencamethe image wasfirst music. Step by step thedirect-on-film works the music. Atthebeginningsof the the digital parts of more of to learn and I started gotaMac Roots(1996)I During theproduction of Chapter 3:Germany Reunification after

123 75 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 (her own dancing) and music. Not by chance, dance she started performing from inherjourney a step filmmakingtointeractive art changed. Althoughcompleteandconsistent,Flockenspielis a completelynewchapter becauseherinspiration had able toprovide. To Neubauer’s followers, Flockenspielwas a material quality that no pencil or algorithm will ever be technical updating. direct-on-film The technique provided digital technology. Itwasanaestheticdevelopment, nota nta fabrush. instead of iul n h sritraeecuae nitiiewyo working. visual, andtheuser interfaceencouragesanintuitive way of his/her choice andknowledgetoolisexplicitly andvaryingthem.The thetilesandfunctionsof animations meansbuilding trees outof 1995). Itputsimagestogetherandcreates motioninsystems, ortrees, which are built from tilescontainingfunctions. For anartist,creating abstract action.Flockenspielisaninvitation toamentaldance. carillon, oralsoamusic box). page. timesthey A few riskbecomingdecorative, but then beautifulandimpossibleastoundingly todescribeonthe utes intotal.Images, sounds, andtheircombination are 124 81 80 79 78 77 76 fmy way to work withdigitaltoolsalsoinimage’. of technique andstartedherthird period,‘thebeginning were thesame. ferent, smoother, but the approach and very high quality was dif- McLaren. imagery The Norman ing the work of ‘Firehouse’ (1998), andPassage (2002),cumulatively recall - voice isthesaxophone. Therewere alsoHoliday(1998), Mondlicht (‘Moonlight’,1997)isapoemtothemoon;its drawn, orstampeddirectly onblank film. colourandshapesthat are paintedor of metamorphoses vibrant andsweet. Algorithmen(‘Algorithms’, 1994)shows awalk,lazymoments, andsomefantasies;itis tion of combines figurative andabstractimages. Itisadescrip- period wasblessed withgoodfilms. but little interest. She did nothing to please. Yet her second Forgags). years, Neubauerandherfilmshadhigh respect oto it.’ 2002–2004 I madeFlockenspielI-IVoutof sounds and images; both were like a diary,ies of and in among my tools. first [. . .] From 2000on,I created librar She explained: ‘Painter software andU&Isoftware were Bärbel Neubauer, communication personal toGiannalberto Bendazzi,Genova, October 2010. Bärbel Neubauer, notesgiven autobiographical toGiannalbertoBendazziin2005. Bärbel Neubauer, notesgiven autobiographical toGiannalbertoBendazziin2005.FlockenspielisapunbasedonGlockenspiel(chimes, What is most striking about this film is its rare interactive quality. One ‘sees’ a film, sometimes ‘watches’ it, but here onedives into the Neubauer never mixed thetwo media.Herdancing wasadifferent languageto express hercreativity withmovement, usingherbody ArtMatic software is for theMaconly. theoriginalKPTBryce ‘synthesizer’ writtenby 1994– Itisagraphic EricWenger (creator of hspro fNeubauer’s work isstrictlybasedon periodof This Flockenspiel isdividedintofour parts, running25min - In 2000,Neubauerabandonedthedirect-on-film metamorphoses. aseriesof Roots (id.,1996)isagain (‘Saturday Nachmittag Samstag Afternoon’, 1994)still

Chapter 3:Germany R after 78 at thesametime. eunification 77 76 -

went ontousekey-frame inArtMatic. verses. Itwasonlyafterlongexperience withthat that she tems that worked from, orin,themselves, likelittleuni- ArtMatic andachieved thebestresults. Shecreated sys- nature-like’. Neubauerdidmany forbidden thingswith thevisualshouldbeirregular, therefore any ders; partof which meanscreating andusingirregularshapesbor the film. timingintervenes andtransforms Neubauer’s senseof ings with animations from ArtMatic software. software. digital brushes, which shecreated onherown withPainter way shewasusedtoworking. time, This shediditwith shapes andmovements. created 3Dobjectsinthetraditional way, togetirregular third partsheusedArtMatic only, andinthefourth she Neubauer, was among the bestfractal works. ‘Makingthis film’ said What mattersis theresult. filmstock chemically.stand thecolour-sensitive layers of tal mathematically, any more than he or she need under A spectator oranartistdoesn’t afrac- needtounderstand visualart,fractalart). since 1975(andanewsectionof raphy, music, andsoon.Fractals have generated images applications to geometry, mathematics, medicine, geog- erty calledself-similarity.’ thewhole, a propapproximately)- areduced-size copy of which is(at least shape that canbe splitintoparts, each of to Wikipedia: ‘A fractalisarough orfragmentedgeometric Her newfriendsandworkmates were fractals. According h etpr fthefilmmixes frame-by-frame paint- nextThe partof After Neubauer’s thisintellectual toolisextremely varied, with useof The ecsvaceia ecin fthelayer’s surfaceand dences viachemical reactions of gotcoinci- waspaintingonthe filmstock,I When I 79 Flockenspiel, Neubauerremained withArtMatic. She painted the first partframe Shepaintedthefirst by frame, the 81 ‘meanttomepaintinspaceapoeticway, Fractal Cycles (2010),running36minutes, 80 In the - - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 rwn faplant–likefractal,inshort.’ growing of grew likethe The film my films, actually)[. . .] with allof justplaying around (itwasthesame that newfilm, I was moving abstractcolourshapes. ‘Inever intendedtomake stainless, but impossible and kitsch perfection.Ken Perlin water, lyrical, andabstractleaves would makeaworld of reassuring return. nation onavaguely shore, familiarsensory onavaguely desti- findsits(temporary?) verse anditsmetamorphoses basis. great tripintotheunprecedented The colouruni- tive viewer isable, even invited, torecognize thefractal thefilm.Infinalsequences, the atten- fractal nature of triumph. impossible. Neubauer’s symphonicapproach madeita tectural, Euclideanskeletonwould have madetheproject theimageandsound.An archi- regarding thecontent of or how theimage flows underthecamera,andespecially askeleton,regarding how thecameramoves, it haskindof 86 85 84 83 82 puter generated surfacesfor motionpicture visualeffects.’ awarded an Oscar: ‘To Ken Perlin Perlin Noise, a technique for used to the producedevelopment natural of appearing textures on com- a straightmanandcomic. interests. Rather, the eye and the ear act like a duo, or even cally, on theimages. Synesthesiaisfarfrom Neubauer’s andcomments,accompanies thejourney sometimesironi- spiel. Itssoundnotonlyinvites theaudiencetodance:it films. pherable discs, smoke, and clouds. focus images, andapparently undeci- to create soft,outof saves the film. Neubauer usedthe techniques he invented By Thomas RenoldnerBy Thomas andPaolo Parmiggiani. Bärbel Neubauer, communication personal toGiannalberto Bendazzi,Genova, October 2010. Bärbel Neubauer, communication personal toGiannalbertoBendazzi,Genova, October 2010. Bärbel Neubauer, communication personal toGiannalbertoBendazzi,Genova, October 2010. rfso nteDprmn fComputer Science at NewYorkA professor of University, intheDepartment heinvented thePerlin noisein 1985.In1997,hewas i moig oeta af nhu f anhourof Fractal Cycles isimposing, more thanhalf Shining spheres andcorollas, abstractgrass, abstract At thebeginningasphere multiplies, cluetothe thefirst It isadaringexploration inunprecedented imagery, but mgsadsudaeteieial oiso abstract Images and sound are the inevitable topics of nayoy,bttecncoseso it. in anybody), but theconsciousnessof space (that’s normal it taught me not the perception of with it.ArtMatic taughtmetothinkthree-dimensional; toimitate anything analogical from life;nordidI want produce didn’t exist yet, so it was impossible to copy wantedto with ArtMatic. Itwasachallenge. What I complicated andinteresting when paintinginspace and the materials.the colours Coincidences are more Fractal Cycles enhances the approach used in Flocken- 82 83 84

work.’ planned research. my It gets unlocked when inspired I do that mightbeoralsonot.Itjustappears, but it’s not a I’m ahumanbeing;spiritualityistheconnectiontothings works automatically, every now andthen.Inevitably, since ily aresearch onspirituality. Spirituality is includedinmy consciousness.ity. Itisnotvoluntar Mine isastream of that I like I don’t want things that hamper my mental clar ‘take any drugs, noteven medicaldrugs. WhenI do things (‘Taken by theWind’, 1983)wassurrealandrough, far rhythmical animation. Tone Fink’s AusderLuftGegriffen sionistically wassupplantedby abstractionormusical- vision andsound.Animation that treated thebody expres- rules andresearched relationships between theformal amuch larger antieliteculture. of was nolongerlimitedtoartacademiesandbecamepart Austria. Animation self-organized centres inallpartsof thiswork, such asalternative cinemasand presentation of later videocameras. Italsoledtonewstructures for the audiovisual production, usingaffordable Super8filmand Mont RealwithhiswifeBarbaraPutz. cordia University inMontreal, Canada,where hemade and later (1988–1989) went asartistinresidence toCon- who studiedanimation inPoznan, Poland (1977–1978) who studiedin Paris; andPeter Putz(b. Ebensee, 1954), Stadtwerkstatt inLinz;Renate Kordon (b. Graz,1952), ists around theself-organized alternative culture centre Steiner, Wolfgang Hoffmann,LeoSchatzl, andotherart- who moved toVienna andmetHubertSielecki;Thomas artist Tone Fink (b. Schwarzenberg, Vorarlberg, 1944), artists include:thepainter, sculptor, andperformance ArtshaveApplied startedmakinganimated films.These ment, many visualartistsoutsidetheVienna Academy of thenewAustrian animation move- Since thebeginningof Austria To achieve herartisticresults, BärbelNeubauerdoesn’t Artists concentrated more onanimation’s codesand the1980s ledtoagreat dealof movementThe of 85 86 Chapter 3:Austria

125 - - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 varied drawing line. ayoung girl withacontinuously relating thetragiclifeof slavia [Croatia], 1968), is both obscure and dramatic, Kiel, Germany, 1961)andDanielŠuljic´ (b. Zagreb, Yugo- and livingbeings, moving onfantasticlandscapes. humanbody partswere assembled intomachines tos of (b. CGIcut-outtechnique; pho- Steyr, 1980)usedakindof machines. buildings and visualize arepetitive lifeinacoldworld of 126 88 87 shorts (thelastwasfinishedand released posthumously), anne, madeat leastadozen 11September 2002) personal Martial Wannaz (Compiègne, France,- 7April 1945–Laus Switzerland All People IsPlastic, ments tosatirical effect. grotesque ele- a cycle repetitionandtheaccumulation of (b. Salzburg, 1961)isasurrealdrawn animation that uses mation. tion openedtoCGIandanewapproach tofigurative ani- interactive, partlyspace-fillinganimated 3Dfilms. artists inthefieldis Peter Kroger, who produced partly thebest-known moving images. Oneof of tacular forms art, 3Dcomputeranimated installations, andmore spec- museums. becamenewplaygrounds These for interactive to move away from alternative cinemastoarthousesand 1956) isinthesamevein, such (1990). asIkonostasis Steiner(b. Thomas Wels, structure.formal work The of are free abstractinvestigations thatastrong stillkeep Seh-Kunden (1993),andBild15/16(‘Image15/16’,1993) 1991), nected inrigorous pieces. Anibas’AmLand(‘OntheLand’, sounds, rhythm, space, andimagesare reciprocally con- ner’s (Sometimes thetwocollaborated.) filmmakers In Renold- and perception rulesare centraltotheartisticresearch. Martin Anibas(b. Waidhofen, 1961),music, abstraction, (‘Dotted’,1990). (1990) andGepunktet Falter 4 away from theregularity andsevere of conception yRl Bächler.By Rolf Original titleinEnglish. Kurzes Leben(‘ShortLife’,2007),by Johanna Freise (b. Harald Hund(b. Grieskirchen, 1967)made2005’s themillennium, Austriananima- decadeof In thefirst After theyear 2000,there wasatrend for animation Thomas Renoldner (b. Linz, 1960) and In the films of

Chapter 3:Switzerland Bunt (‘Coloured’, 1991)andRhythmus94(1994), Spinning –Bild14(‘SpinningImage14’,1991),60 Mao Tse Tung –Bd.2(2001)by HeimoWallner (‘Mr Cash’, 2007)by ClemensKogler Bar(‘Mr Cash’, Herr 87 88 aCGIshortthat uses3Dmodelsto and reality allmerge at Wannaz’s doorstep. throughnight pursuit Lausanne, untilcomic,animation, the panels and follows camera enters The a mysterious French comic artist Jacques Tardi.drawn in the style of (played by Wannaz himself)leafsthrough novel, agraphic collector in anhomagetofilmnoirandcomics. A comic animation andlive-action for Adele’,1993),ahybrid of at once. thenight,where allcreatures are predators andprey of cally moonlitgardeniscontrastedwiththehiddenhorrors lush, stupendouslyanimated cut-outimagery.- A romanti based onanovel by ItalianwriterDinoBuzzati, features the same. HisoutstandingDoucenuit(‘Sweet Night’,1987), experimenting withvisualstyles, sohisfilmsnever looked existence andkept had apenchant for thedarker realms of some collaborations, andseveral dozen TVepisodes. He point wastomakethespectator intotheprotagonist. The 1981), theanimation simulated asubjective camera;the Frankment deFrank N. N. Stein’, Ravishment Stein (‘The of cycles andtherotoscope. InLeravisse- tigated theuseof extended sequenceshots. that replacestraditionaleditingandresults in morphing painted duces Schwizgebel’s typicaltransitions, akindof about naturalism inmovements. Inaddition,itintro - films. Alsonotable wasthefilm’s rotoscoping, tolearn development which through was carried to subsequent , ithadaflexibility andpotential for Icarus Flightof The bold brushstrokes oncels. Unlikethe‘lightbulb’ of grid loose, rather Muybridge?). Itintroduced styleof agraphic humansandanimalsinmotioncycles (awinkat of half furtherashisdistinctivepushing others styleevolved. each filmthat followed, heintroduced newfeatures while dialogue. In tight relationship tomusic; andtheabsenceof for approach, choices; aconceptual a basedonformal already apparent mature in his first effort: a predilection thesehallmarks were hiswork. Someof the hallmarks of exercises, designedtodevelop considered sequence of Vol. 2) inwhat engaged in retrospect appeartobeawell- In Geneva intheearly 1970s, Georges Schwizgebel (see SchwizgebelGeorges Another Wannaz gemisÀlarecherche (‘Looking d’Adèle In these, Perspectives (1975)isaminute anda of first The Hors-jeu (‘Off-Side’,1977),Schwizgebel furtherinves- Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 Retouches oeuvre (2008),andRomance(2011).The isfar Man Without(‘The a Shadow’, 2004),Jeu fame),Fugue(1998),L’homme Mr Vieux-Bois sansombre of (1996,a30-secondhomageto RodolpheZig Zag Töpffer Girl (‘Nakunin’, andtheClouds’,2000),Nakounine 1986), Young (‘The the Deer’, 1995), La jeune fille et les nuages of thePainting’, 1989),L’année Year dudaim(‘The Subject of itall. era pullsback,tobethepuppetmasterof orchestra and its conductor, who appears, when the cam- meetingthedamned,we are received by the Instead of Helvetic animator gives twist. thepieceavery personal they rushtowards theabyss (hell).With theconclusion, which revolves around Faust’s visions and phantasms as illustrated theprotagonists’ dialoguefrom Berlioz’s libretto, (Fausthorsemen Schwizgebel andMephisto), essentially two the narrative content.Starting withthecavalcade of for adramatic stageproduction, itprovided thesource for during which takesFaust Mephistopheles tohell.Written Faust by HectorBerlioz, Damnationof fromexcerpt The where thecamerapullsouttoreveal thewhole setup. thecels, from sequence shot,spirallingintothecentre of round, withnooverlap. result The isanextended unedited the previous image area filmed isadjacenttotheoneof centre, sweepingtheentire surface. Atevery repetition,the spiral path, frame by frame, clockwisefrom theedgeto thewhole asittracksa era captures apostcard-size partof The cam- film, is repeated time and again. six seconds of onlyafewseconds? of celsconstitutinga cycle filmwithalimited number of of originalchallengeThe washow tomakeseveral minutes Schwizgebel theengineermeetSchwizgebel theartist. La course RidetotheAbyss’, àl’abîme(‘The 1991)sees A Case ofForm lightly paintedworld incontinuous swirling moves. ontherotoscope,depending Schwizgebel takesusintohis his coffee. a man stirring No longer still observation of aleisurely summerday andthe mated subjective viewof betweenaccordion the ani- waltz, the film alternates gebel had explored previously. Inspired by a melancholic that alltheingredients Schwiz- well-measured blend of bemused. experiment leftaudiences theformal but theexcess of film wasSchwizgebel’s firstattempt atclassic storytelling, Schwizgebel’s otherworks are Lesujetdutableau (‘The musicThe chosen RidetotheAbyss’, was‘The an cels, 144large-format equalling In thefilm,acycle of The runculminatedThe in78tours (‘78R.P.M.’, 1985),a (‘Game’, 2006), and going, condensation, intensification, and change. piece, retouching oilpaint.Heusedthistechnique inhismaster way for hisexperimental films, he eventually focused on and puppetanimation, usingeverything that camehis ArtsinDüsseldorf. Startingwithpixilation Academy of festival career. andithadasuccessful garde intothetwenty-firstcentury 1920savant- track. Itlookslikeafresh transpositionof patterns, andfigures toarhythm-driven electronic noise of colours, vious work, the film sets flickering movements Montreal, 1971). Completely breaking away from his pre- rected withtheCanadianillustrator Xavier Robel (b. come upwithhisnextfilm,Rush(2004),codi- personal andwastheartdirector.author whothestory suggested Zurich, 10June 1966), awell-known illustrator andcomics an unmadeseries. Itwascodirected by Ott(b. Thomas Life’, 1993),a26-minute film-noirconceived asapilot for duce Light’,Luyet joinedwithLaFabrique topro again - of in every respect. the worst fights happen in our minds.The film is a classic sity. They tightenrelentlessly tothefinal revelation that inten- gut-gripping oureyes, produces imagesof front of and blue crayon slashesswirling onablack background in painting on cel, combined with loosewhite,acrylic red, blows styleof onthewaygraphic totheknockout.The fighter, sufferinghisfutile attemptsto blockhisenemy’s the huffing and panting ting the spectator in the body of extends thesubjective perspective tothesoundtrack,put- view,mostly assumestheprotagonist’s but healso pointof Light’, 1992), a boxer fights his own mirror image. Luyet jects simultaneously. delumière Square (‘The of InLecarré Histoire d’eau(‘Water 2009)continued Story’, inthisvein. the1970s. hispoeticearly work of errors, reminiscent of of littleblack-humoured ballad Chemist’, 2003),acharming the Songof (‘The pencil stylefor Lachanson dupharmacien retiring from teaching. Healsorevived his original colour Daniel Suter(seeVolume 2)resumed production after Other Animators animation. of a century work, andstillarare achievement aftermore than body of atrue itsparts, which isamark of more thanthesumof Kilian Dellers (b.Kilian Dellers from Basel,1959)wasagraduate the After thisdouble feat, ittookLuyet almostadecadeto At thesametimeashewasworking Square on‘The Claude Luyet (seeVolume two 2)began majorpro- Robert Creep: UneviedechienRobert Creep: (‘Robert Creep:A Dog’s Vision (1995).Itisabout tensionandrelease, coming Chapter 3:Switzerland

127 - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 128 Braun, ismore apoemthantraditional story. way up. codirected Schlaf 2010),again by (‘Sleep’, Frank car violentlysneezes, dismantlingthecar onits gradually tive is reduced to a single, straight event: a man in a cable to break away from hisoverly complex- plots. narra The rector. may This explain why Gentinettafinallymanaged theFantoche festival, asacodi- founder andpresident of teamed upwithFrank Braun(b. Winterthur, 1965),the stunning visualsveil thediffuse narrative. nibalism which, like Amuck, is evoked rather than told. The Poldek (2004)hasabizarreplotaboutneighbourhoodcan- by success:Amok(‘Amuck’, international hisfirst 1997). thelate 1980sandearly 1990s, wasconfirmed exercises of apparentGentinetta (b. inhis Lucerne, 9January 1968), cinema. independent network’s role asacoproducer of Culture andthenational television network, defining the of producers, authors, directors–andtheFederal Office Swiss cinema – between the professional associations of agreement 1996wasapartnership (Audiovisual Pact) of young audience. tion by young directors, Cinematou focuses on films for a Geneva in2006.WhileFantoche encouragesnewanima- Cinematou, asecond annual festival, wasestablished in it animation’s mostimportantpromoter inthecountry. biannual event becameanannual onein2010,making entrantsand spectators, the thegrowing number of of daytimeoutlets. TVandotherindustry Because ings of a large public discovered animation beyond the offer animation festival,international wasablessing. Finally media programmes, itwastoolate tocatch up. Switzerland finallybecameeligible tojointheEuropean theworld. When tion hadnoconnectionwiththerest of animation boomed allaround. For agesSwissfilmproduc- tive (and,for themostpart,private investment), even while little coherence. Itwasentirely restricted toprivate initia- nity hadnoeconomicbase, nocooperative tradition,and MediaCartoon.Consequently, theconfinedcommuof - its animation wascutofffrom theincentive programmes him. this filmwasthelast we saw of distance. Itreflected Piaget’s own animation career, since the rooftops and disappearing in the like a glowing fairy is setfree by alightningstrike, breaking intoadanceover secluded inhisworkshop canget.A streetlamp’s filament theDisney style, artisan ascloseasolitary emulation of For Claudius visualauthorityandblackThe humourof On theproduction side, thePacte del’audiovisuel However, Fantoche Swiss in1995,thefirst thelaunch of As Switzerland didnotbelong to theEuropean Union, Luora (2001) by Carlo Piaget (b. 1962) is an astounding

Chapter 3:Switzerland (‘The CableDie Seilbahn(‘The Car’,2008),Gentinetta - bu h ote-pxnpoi fthepettybourgeois. about thebottled-upxenophobia of turers asruthlesswarprofiteers, and‘GoodDay’, which is ‘Hoping for manufac Better Times’,which- shows arms (Credo, 2000).Allaboundwithbitingirony, particularly national, ‘GoodDay’, identity (Grüezi 1995), andreligion bessere Zeiten,‘Hopingfor Better Times’,1993), fen auf (Pattissues: the army , ‘Stalemate’, 1991), business (Hof- animated pamphletsaddressing core civic on aseriesof ing skills as soon he could handle apencil. He embarked whose shipgetsstrandedintheAlpsduringaviolentstorm. a designleaving spacefor imagination, itisaboutasailor every time. Hu(‘CaptainHoo’,2011)isagem.With Kapitän shorts, Vogt usedandoftenmixed different techniques ing metalsheetswithanimated engravings. For hispersonal banditswithaspringmotor,like one-armed flippingclank- three sculpture-like mutoscopes asslotmachines, series of all-trades andagiftedtinkerer. In1995,heconstructeda decadence before thefall. tocreateused computertechnology anatmosphere of other seacreatures detainedinthediningroom. Horváth fish and the Titanic through the eyes of the disaster of (‘Carcasses andShellfish’,1999).Itshowscasses etcrustacés National Film Board of Canada and her first filmto Canadaandherfirst catch National FilmBoard of herdistinctstyle. standard working toolandthe basisof enhanced withdigitalimageprocessing). Itbecameher CelAction software (basedonthecut-outprinciple but theFolimage studioinFrance,school of shediscovered belle Favez (b. Berne, 1974).AtLaPoudrière, theaffiliated remained available. pany), developed andthestudiotechnology for Max & Co. trous. Guillaumebrothers survived The (unliketheircom- with theaudienceaward, thefilm’s box officewas disas- were mixed. WhiletheaudienceinAnnecycelebrated it the animation wasexcellent, thoughopinionsonthescript was amonumental achievement andcommercial failure; mated feature, thepuppetanimation Co.(2007).It Max & Swiss-madeani- thefirst were of twinsandjointauthors love but thesystem. alsoitsinabilitytograsp to rise. mosquito’s The tragedy isnotjustitsunrequited Its mechanism naturally makesoneworld fold for thenext unfolds story by thepages. apop-upbook.The turning of puter tocreate therich, lush,superbly composeduniverse vampires), Horváth usedthecom- love withtheprinceof Zoltán Horváth (b. Geneva, 1966)premiered withCar- Jonas Raeber(b. Lucerne, 1968)exercised hiscartoon- Basil Vogt (b. was a jack-of- Brugg, 21 February 1965) For Favez’s was Isa- new faces in the new century the first One of Samuel andFrédéric Guillaume(b. Fribourg, 1976) Nosfératu Tango (2001,aboutamosquitowho fallsin Circuit Marine(2003),coproduced by the Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 90 89 cartoons. to life, andsets itfreepopularintheearliest –aconcept animator’s pixilated handdraws astickfigure, awakens it Exercise’, 1995).Inthisone-and-a-half-minute short,the during aprevious visittoLucerne, Ejercicios(‘Pencil enlápiz blueprint wasaspontaneousstyleexercise hehadcreated ent encouragedhimtoexplore hisown ideasaswell. The new animation studentsthebasics. ArtandDesigntoteach University of job at Lucerne in thesectiononLatin America,wasoffered apart-time erotic fantasy. puppet gemintheraregenre (andtoooftenvulgar) of post-school career withAmourette (‘LusttoDust’,2009),a won Annecy’s project competitiontwiceinarow. as apleasing, graphicstyle. efficient An unusual talent,she (and mostly melancholic) stories and subtle directing aswell Bear’s(‘The Hand’,2007).Shedisplayed asensefor laconic ArtandDesignwithLamaindel’ours University of Lucerne qualityinhislater films. of animation. Sommerhalder never reached the same level andenhancedbygraphics deliberately visible computer info- didactic toneismatched by adesignreminiscent of lyzed withfear that hewillmakeawrong decision.The man’s life, withavoice-over analyzingwhy heis sopara- but mostinteresting work. Itisaboutthelastsecondina Sommerhalder (b. Zurich, 1974),ishisleastconventional a Zucchini’s Life’). they arefeature, preparingtheirfirst (‘It’s Maviedecourgette thiswriting, Belgian CédricLouis(b. Liège, 1970).Asof theHeads(2009),which codirected Barras withthe Land of Canada,aswasSainteBarbe(‘HolyBeard’, 2007) and of tale.fairy Itwascoproduced by theNational FilmBoard boîte de raviolisGenie from (‘The the Ravioli Tin’, 2005), a Co. He took the experience further in Max & theGuillaumebrothers’ ter designfor thepilotversion of but discovered puppetswhen hewasaskedtodocharac- –nottoeveryone’sall entangle benefit. a bakerlady, abutcher, ahunter, adog, acat, andarabbit piness. InTarte (‘Apple auxpommes Pie’,2006),thelives of hap- several characters complicate theirlives of inpursuit wide attention, wasadiverting ensemble comedy where By AnnemetteKarpen. Whenever hismeans andtimeallowed to Boliviatoshare hiscraftand experience it,hereturned through trainingworkshops. Jesús Pérez, whose work inhisnative Boliviawe discuss Maja Gehrig, graduate, launched a2005Lucerne her Marina Rosset (b. Lausanne, from 1984)graduated film Dice’,2004),thefirst byRafael Würfel (‘Mr Herr (b.Claude Barras Sierre, 1973) started with computers 89 Fostering young tal- Le génie de la

ieto fFrench animator Serge Elissalde. direction of (‘Loulou andtheOtherWolves’, France, 2003),underthe theomnibus children’s feature Loulou et lesautres loups of short,isaRed RidingHoodtakeoffthat waspart type of 2003), Chalet’s professionally first produced ‘oldschool’ within thestyle’s constraints. formal also his ability to create highly differentiated expressions ing millennium. Chalet’s trademark is not just his style but colour palettes, launching anewvisualtrend for thecom- white, but they soonextended toreduced high-contrast other geometricprimitives. Initiallythey were black and style based on vector – essentially circles graphics but also shown tolarge audiencesandbroadcast inhouseholds. motiongraphics, live anddirect, tobe in projections of hosted by in1998,hebecameinvolved MTVGermany Web design.Winning acompetitive tenderfor anevent themostcommondigitaltoolfor to animate using Flash, how in Berne, hegotintoanimation by teaching himself belongs to a newbreed. Trained designer as agraphic and love for thecharacters, itreceived great festival acclaim. charm rected with Pérez’s drawn ballet,full of wife. A pure Big Brother’, (‘The 2010), cowritten and - codi Bruder Der grosse expression totheanimation. of to attribute the whole weight mere stickfigures –asif drawing interfering, utensilskeep andthecharacters are setistheanimator’sThe drawing desk,hishandsand brother-sister) feud.Pérezmadetheartificevisible. again aboy-girl (or Lines’, 2005),gives aplayful accountof ogy. inanupbeat Ittold itsstory andhumorous way and themes aswell asvisual expression. of was vast, interms thesefilms children andyoung people. diversity of The film production budget shouldbeused for filmstargeting thetotal Law, percent of revised in1982,ruledthat 25 major animation producers in Europe. DanishFilm The the feature filmper year andhasthusbecomeoneof Since 1985,Denmark hasproduced aboutoneanimated Denmark (‘WhereT’es oùmère-grand? Are You, Grandmother?’, For hedeveloped thispurpose asimple, quickvisual François 1970)definitely Chalet(b. Geneva, 17June Children, storytelling, and dance make up the essence of h is fhisnew works, PunktundStriche (‘Dotand of first The Valhalla (id.,1986)tookitsthemefrom mythol Norse - 90 Chapter 3:Denmark

129 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 atdt eaBa’ 03 etrsmse fsnow andice. Wanted toBeaBear’,2003)features massesof grounds. Long Shadow’,andsubtlepastelback- 1998), hadelegant andthe (‘HansChristianAndersen Andersen skygge ogdenskæve although heloved Danishtraditionaswell. HansChristian create hisfilmsbasedonthings experienced indailylife, style’. attitude andmade filmsinthe‘international style. For itspart,A.Filmhadanentertainment-oriented reled away asmuch aspossible andhadaneasynoticeable company toDanskTegnefilm The latter Kompagni. squir therival approaches toanimation. A.Filmisthenameof the years andthetwo companiesdeveloped very different Hastrup’s DanskTegnefilm Kompagni increased over Stefan Fjeldmark (b. 1964). Lerdam (b. Gladsaxe municipality, 1958)and 12March ing onValhalla founded A.Film.They were ledby Jørgen Varab, who hadstarteditall,wascodirector. the filmwasbased, received director credit and Jeffrey J. Eventually Peter Madsen,theartistonwhose comic books duction, both its producer and the director were replaced. was animated in the Disney style. After a long, chaotic pro- 00 ot11 ilo aihkoe 1 millionUS million Danishkroner (18 2000) cost101 more complexstructures. story andtheSecret Weapon Monkeys Snuden andThe , which have animation, andstorytelling. They are quitedifferent from still close to Disney style in their backgrounds, character children’s culture inDenmark, but theycritical lineof are codirectors. helt (‘Amazon Jack’), withLerdam again andMølleras followed in1996,JungledyretA sequel Hugo–denstore film- young andpromising animator, Michael Hegner (b. 1964). and codirector withJørgen Lerdam; thefilmalsohada QuistMøllerwasthescriptwriter est animal.Flemming Jungledyret (‘Jungle Jack’, 1993),abouttheworld’s rar up. An officeinLosAngeles, run byHans Perk, wasalsoset theproductions. themore demandingpartsof charge of inHamburgnew departments andBerlin, which were in in Tallinn, Latvia. Estonia,andRiga, Italsoestablished the 1990s, A.Filmexpanded, founding sistercompanies TV, feature film,andcommercial departments. During minded company withacontinuous production slate and nationally oriented stories. Itwasatraditionalbusiness- 130 A. Filmpreferred towork onfantasy, tale, fairy andinter At DanskTegnefilm Kompagni, Hastruppreferred to The budgetsThe available for both A. Film and Jannik animatorswho hadbegunwork- In 1988,agroup of (Hl!I AmaFish’, featureThe Hjælp!Jeg eren fisk(‘Help!I Both ‘Jungle Jack’ films follow thenewthoughtful, feature first The filmmade bytheA.Filmstudiowas

Chapter 3:Denmark Drengen DerVille Gøre Boy DetUmulige(‘The Who - - - Matthesen himself. Matthesen’s radioseries, withallthevoices recorded by problems. Itwasbasedonthestand-upcomedianAnders tale aboutbullying, psychopathic teachers, andteenage i knibe(‘Terkel inDistress’, 2004)isarough andsatirical intofishafter drinking apotion.Incontrast,Terkelturned mark, andMichael Hegner, itfeatured three children who Hollywood. Directed by Jørgen Lerdam, Stefan Fjeld- itwasprompteddollars); by A.Film’s ambitionstofollow feature films was broken withCopenhagen Bombay’s was established in2003. classical character animation at theAnimation Workshop bachelor’s programme in degree A three-and-a-half-year wasestablishedtors atDanish FilmSchool The in 1992. four-year trainingpeopletobe animation course direc- directors benefitedfrom state-subsidized educations. A in Denmark. Film Institute, there would have beennofilmproduction were notfor thesubsidiesandfundingfrom Danish The it their films had an impact in the US. If market, none of pagni hadsuccessinDenmark andtheEuropean cinema duction withaFinnishstudio. the Waylentë jän poika’, ‘Niko & in copro to the Stars’), - year, (‘Niko– tilstjernerne thecompany ogvejen madeNiko A. Filmtriedtoreach amore adultaudience. Inthesame ‘Jungle Jack’ films. 2008), which astheprevious wasasfresh andcharming efforts intoHugo3–fræk, flabet ogfri(‘Jungo GoesBananas’, A.Filmputtheir tress’. of In2008, the 3Ddepartment animation by the same young team behind ‘Terkel in Dis- Christian Andersen’s tale. Itwascreated in3Dcomputer Hans 2006) wasmadein2005andisanewversion of ject, from thescreenplay tothestoryboardandanimation. the pro- film is French, A.Filmwasactive in of every step ‘Help!I Am aFish’.Although the production standard of thehigh Films chose A.Filmasitspartneronaccountof ner, France’s USdollars). approximately M6 29 million Danishkrothe mostexpensive- filmtodate (160 million coproduction, madeintraditionalcelanimation. Itwas ‘Asterix andtheVikings’, 2006)wasaFrench-Danish (‘Astérixish ruralstyle. AsterixogVikingerne etlesVikings’, Sven Nordquist’s booksandpresented inatypicalSwed- children, basedontheSwedish writerandillustrator SantaMachine’,The 2005)wasacoproduction for small Peddersen ogFindus3–Nissemaskinen(‘Pettson andFindus– The twoThe bigstudios’ monopolyonproducing animated animators and animation fourthThe generation of Although bothA.FilmandDanskTegnefilm Kom- With Duckling and Me’, Ugly ælling og mig (‘The Den grimme (‘The Journey (‘The to Saturn’,Rejsen til Saturn 2008),

Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 91 hold chores. Grafström madetwo more movies inthestyle andQueenSilviadoing house- shows KingCarl-Gustaf royal house. Hemljuvahem (‘HomeSweet Home’,1997) (b. 1953),who madeanimated filmsabouttheSwedish Jonas Dahlbeckwashired asadirector at Filmtecknarna. (1998),alove builtNocturne story onChopinmusic, and clichés. Hindsefeldt created a sequel, full of a trite story an attractive design,despite filmshowsThe thepower of malemusical instrumentswho fight for afemaleviolin. of From Me. Fully animated on cels, acouple the film stars in1995forbagge bestshortfilm for DoNothin’TilYou Hear (b. 1968) and Jonas Dahlbeck (b. 1971) received a Guld- nities andstillusingcraftsman’s methods. alonewithfeweconomicopportu- companies, struggling animators were disconnectedfrom thebigproduction these little more than ahundred people. majorityof The Swedish animation wasstillsmallinthe1990s, employing century, andeffortsmade by theSvenska Filminstitutet, pleasant, tastefulstories, but theiranimation isweak. teddy bears. Gabrielsson’s productions tell the secret lifeof Björk andMariaBrännström, isapuppetanimation about lars Väntan Waiting’, (‘Nallars 1998),directed by Christina balloon andthenfliesinitonascientific expedition.Nal- anantthat builds ahot-air Balloon’, of 2003)isthestory Anna Bengtsson’s (‘Expeditionona Bollongexpeditionen ish children’s books, directed by therespective authors. theseshortsare basedonSwed- her own in1997. Someof Filminstitutet andstartedproducing animated shortson Lisbet Gabrielsson(b. 1943)hadacareer at theSvenska Sweden (b. Gentofte1977). GiantBear’),directed (‘The by EsbenToftbjørn Jacobsen strip artistandwriteracontroversial director. (b. Copenhagen,5December 1972), avery talentedcomic- insideit.Bothwere directedworm by Morgenthaler Anders film aboutthestrange relationship between anappleandthe andtheWorm’), Apple (‘The Æblet afunny family ogormen explicit sex andviolence. In2009,thesamestudiomade film with for adults,grim, shockingstory very tellinga Danishanimated Princess(id.,2006),thefirst production of By Valentina Pezzi. Another Guldbagge winnerisUlla-CarinGrafströmAnother Guldbagge Among thedistinguishedartists, Pernilla Hindsefeldt thetwentieth Despite somegrowth inthelastdecadesof In 2011,CopenhagenBombay presented Denkæmpestore 91 so welcome inSweden. Juan Carlos, a12-year-old SouthAmerican boy who isnot interview with3Danimationof totelltheintensestory Aronowitsch (b. filmcombineslive-action 1964).The by (b. HannaHeilborn 1968),Mats Johansson, andDavid However, in2002,thefilmGömd(‘Hidden’) wasreleased son, Sweden produced fewanimated documentaries. program Allra mesttecknat (‘MostDrawn’, 2002). puppet AllramEest,hismostfamouscreation, intheTV Mertz (1991)for Svt. Healsodirected andanimated the a puppeteer, created theTVseriesSprattlan andJanne & holds many secrets. on the beach with his uncle and discovers that the ocean directed Cuckoo’, 1988).With herhusbandUziGeffenblad, she including the animator Gun Jacobson, created many children’s films, working withthemultiplane. Geffenblad, togetherwith thefewartists blad (b. Strömblad, 1962),who wasoneof casual andrawtouch. stylewithapersonal she discovered, inwhich cutoutsmixwithcartoons. Itisa cel animation aboutayoung urbanidler. music The video characters express theiropiniononvarious situations. its documentary; Plasticine TVserieswithanelement of Plasmaland’, 1993)withJonas Odell.Sweden(1996)isa a TVseriesentirely inclay, AliceiPlasmalandet (‘Alice in working whereson began hemade withFilmtecknarna, poignantshortstories. In1992,Carls- small collectionof (1992)wasa combining drawings andmusic. Mr Carlsson Carlsson was strongly influenced by MTV’s animation, quality.high level of entertainment on anindustrialscale while maintaininga who work outsidelarge production hemakes enterprises, hisfellow artists, festivals.international Unlikemostof where hisworks are soldandwhere heparticipates at poraries. He is important both domestically and abroad, is a prominent figure among hiscontem- 20 April 1965) ofMagnus Carlsson (b. VästraGötalands, Säffle, County Magnus Carlsson After Petter Lennstrand(b. 1970),whohiscareer began as thefinestcut-outanimators wasLottaGeffen- One of Filmtecknarna’s While attending artschool inGothenburg inthe1980s, Semesterhemmet (‘Holiday Home’) by Birgitta Jans- (‘Apricots’,Aprikoser spendsaday 1996).A child God morgon GerdaGod morgon gök(‘GoodMorning, Gerda Robin (1996)isaTVseries in traditional Chapter 3:Sweden

131 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 132 92 mation. Tegnefilmcompagniet wasafilmcollective, whose made drawn cartoons;StudioMagicamadepuppet ani- Company) andStudioMagica.Tegnefilmcompagniet 1990s: Tegnefilmcompagniet Animated (The Cartoon ing system. better qualified togethelpfrom theNorwegian film fund- tocollaborate,important, theanimatorsbegan becoming Baltic animation festival startedintheearly 1990s. Most animation school openedinVolda, while theNordic- tising, music videos, andcomputergames. A state-funded animation inTVgraphics, adver helped widentheuseof made animation accessible for young enthusiastsand money tomaketheirstudios profitable. Newtechnology At last,Norwegian animatorscoulduseTVadvertising national commercial TVchannel, TV2,openedin1992. for awiderNorwegian animation industry. themainfilmsceneandnever becamethecatalyst gins of puppet filmsfrom 1948to1975, but it worked onthemar the early 1990s. Caprinostudiomadehugelypopular The Norwegian animationin began professionalizationThe of Norway director’s mostinnovative creations. little pigDesmondandhisforest friendsare among the lan (‘Desmond & theSwampBarbarianTrap’, 2006).The Trashed Tree’, Apple träskpatraskfäl- 2003)andDesmond & features for children, Desmondtrashade äppelträd (‘Desmond’s panies. towork Hereturned withclay andmadehisfirst son’s business principlesdidn’t change inthesenewcom- Baron, Jollyand Thin addingThe Patron in2003.Carls- Life, Carlsson startedMagnus Carlsson Production AB factories andfreelance artists. thework isdoneby foreign an industrialsystem.Much of asimplebut effective design,madeaccording to use of high-quality animation inlarge quantities, through the arockwho band. wanttoform Möb (2002),aTVseriesinmixed techniques aboutfriends , bothincelanimation, andDa andJerry Friends . . . Three own company, Happy Life. In1998hemadeLisaandThe was derived from theseries. In1996,Carlsson startedhis Paranoid Android (1997),for theBritishbandRadiohead, By GunnarStrøm. w tdo eefre ttevr einn fthe Two at studioswere thevery beginningof formed situationThis changed intheearly 1990s. first The In 2000,having endedhisrelationship withHappy producing Happy Lifewasbasedontheprincipleof

Chapter 3:Norway 92 - - include children’s booksandfundedby state money. Highlights these were shortsbasedon for theirown films. Mostof worked inthesamestudiobut each hadresponsibility (b. Larsen 1953),andLindaMadsen(b.Guttorm 1967) owners ØivindJorfald (b. 1950),Jan Konings (b. 1947), based ontheNorwegian composerEdvard Grieg. several shorts featuring acharacter calledEdvard, loosely directed by PjotrSapegin. Intheearly 1990s, hemade Studio Magica’s mostsuccessful films were theclay shorts ber 1955). Besides theirmany prize-winning commercials, and theanimator PjotrSapegin(b. Moscow, 4Decem- bach (b. 1943), theproducer Tømmerbakke Lars (b. 1950), the puppetmakerIvar Rødningen, theeditorPål Gengen- Russian special-effectsartistNatasha Nikitina(b. 1944), the journey. December. Jan Garbarek’s beautifulmusic accompanies theroad, thesnow isback,itnight,andit’s other endof they leave . . . andwhen onthe thecamera ends itsjourney to the little village.mer people return But with autumn snow disappears, springandsummercome, andthesum- frame animation, the camera moves along the road, the theroad. Insingle inJanuarymorning ononeendof Norway.munity innorthern startsinthe journey The era travels theonlyroad inanabandonedfishingcom- a speciallydeveloped shootingtechnique, Skallerud’s cam- 1991). ItwastheonlyNorwegian filmshotin70mm. With gjennom BørfjordYear (‘The alongtheAbandonedRoad’, Skallerud animated footprint cutouts. aLovekjærlighetshistorie 1981),where Story’, (‘Footprints of Lasse Glomma,1985).Anearly highlightisFotspor aven effect –inthelive-action feature Havlandet(directed by (‘WinterVintersolhverv Solstice’,1984)and–asaspecial tion andmulti-exposures, which canbeseeninhisshort a white lineonlive-action filmstock. WhiteLine’,1978),inwhichhvite streken(‘The heanimated made in the1970sand1980s. Inspired McLaren, by he Norman (b. 14July 1954). Skallerudmadeseveral animated shorts era Magica,runby MortenSkallerud thecinematographer Linda Madsen,1995). FilmaboutBodil’,by1994), andFilmenomBodil(‘The alfabetetRebelliousske (‘The Alphabet’,by ØivindJorfald, In StudioMagica,MortenSkallerudwasjoinedby the Skallerud’s isthetime-lapseanimation Året masterpiece In the1980sheexperimented withtime-lapseanima- thecompany Cam- Studio Magicawasanextension of Geometrisk dans(‘GeometricDance’,1972)andDen Snop (‘Candy’, by Jan Konings, 1991),Detopprør - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 Disney Aronsen animator andproducer Bjørn John M. universe that Aukrust hadcreated. Together withformer the Aukrust universe differed from theoriginalFlåklypa feature had been the basis for Caprino’s hugely popular puppet is basedontheuniverse created by KjellAukrust, which feature at Annecy. feature The had acomplex history. Gurin (‘Gurin withtheFoxtale’, 1998),which competedfor best country. part indeveloping aprofessional animationinthe industry animated features hasplayed anessential production of in animated feature films. Sincethelate 1990s, continuous 1944) andAageAaberge (b. 1954)saw economicpotential wegian live-action producers such asJohn M.Jacobsen (b. without substantialgovernmental support.However, Nor speakers, a national film industry would not be possible Sandemose.Caprino assistantBjarne with, amongothers, MikkelSandemose, of thegrandson down studioPravda intheearly 2000sandSapeginformed (‘Now You Are AbouttoHear’).StudioMagicaclosed in Norwegian cinemas in2005,entitledNåskalduhøre lowed in2004. Glasses’)fol briller(‘Through- MyThick Gjennom minetyke opera Puccini’s (2002) is a complex and intelligentversion of it isauniversal love for story a grown-up audience. Aria Man BoughtaHouse’,1998)won theHiroshima prize; prizes.eral international HusetpåKampen(‘OneDay a was Sapegin’s breakthrough, international winning sev - Figure 3.19 The first successwasSolan,LudvigogGurinmedreveropmpa first The with less than fiveIn a small country million Norwegian fourThe shortswere released asafeature compilation children’sThe filmKattenMons(‘MonstheCat’, 1995) , anothermulti-awardMadame Butterfly winner. Flåklypa Grand Prix.However,Flåklypa Caprino’s version of

Gjennom mine tyke briller(‘Through MyT Pjotr Sapegin,Gjennomminetyke -

April 1963) hadsuccesswiththe 3D computerTVseries April 1963) comes alive. books by Anne Cath. Vestli isaboutawooden stickthat Knerten films(thefirst premiered in2009),basedon the while, QvistenAnimation madetheanimations for the satire basedontheHollywood stylistJan Thomas. Mean- series inspired by classicAmericancartoons. , thebestNorwegian film 15-minute cartoonshortGuggen as codirector. In2002,theyounger Sivertsen madethe and KimHiortøy. HisfatherSivertsen Thor wascredited Turns Evil’),basedonthechildren’s books by Erlend Loe 2008 Sivertsen madetheCGI feature (‘Kurt Kurt blir grusom company Happy Lifeandcodirected by StigBerqvist. In 1972). aimed at children anddirected by Rasmus Sivertsen (b. 2009). They were basedonpopularNorwegian stories tain Sabertooth’,2006)andPelle Politibil (‘Pelle Policecar’, with Oslo’s QvistenAnimation:Sabeltann(‘Cap- Kaptein production. Idsøe wassoledirector; NilleTystad hadleftduringthe ’). When the film premiered in 2002, Vibeke the Roof feature basedonLingdren’s Karlsson (‘Karlsson påtaket on owners toAstridLindgren’s book,who proposed acartoon John M.Jacobsen shared thecredit asdirectors. was ahugecriticalandpopularsuccess. NilleTystad and eventually created ‘GurinwiththeFoxtail’, afeature that animation and Jacobsen, Aukrust entered theworld of The comic-book artist Christopher Nielsen (b.The Oslo, 20 Another successwasthehugelypopularWeb cartoon SabeltannwascoproducedKaptein withthe Swedish Aage Aaberge produced two animated features together Afterwards, Jacobsen wasapproached by therights hick Glasses’),2004. Fanthomas (theseriespremiered in2009),acelebrity Chapter 3:Norway

133 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 134 Canada. Allrights reserved. Figure 3.20 given toTorill Kove fordikteren herfilmDendanske (‘The the bestfeature award at Annecyin2007. Jimmy.elephant fri (‘Free SlippJimmy Jimmy’, 2006)won ‘Two Wasted Wankers’ characters and the drug-addicted merbakke, hestartedwork onaCGIfeature the starring think even bigger. Together withproducer Tøm Lars - financed by thenational broadcaster NRK,madeNielsen and othersocialdropouts. provocative This production, cult comic-bookuniverse ispopulated withdrugaddicts To trøtte typer(‘Two Wasted Wankers’) in2000.Nielsen’s The first animation first Oscar The for aNorwegian filmwas

Chapter 3:Norway

Torill Kove (TeDns ot) 06 TeDns ot 06Ntoa imBado dikteren Danish Poet’),, Den danske (‘The Danish Poet’ 2006. ‘The © 2006 National Film Board of 1980s. Her style is minimalist in form and deep infeeling, anddeep 1980s. Herstyleisminimalistinform Botswana before moving toMontreal (Canada)intheearly She lived inNorway andspentseveral years inKenya and Canada. Board of between theNational StudioMagicaand,again, Film mother Ironed theKing’s Shirts’,1999),coproduced debut film,Minbestemorstrøkskjorter(‘MyGrand- kongens Kove’sCanada. Itfollowed theOscarnomination of Oslo studioMikrofilm andtheNational FilmBoard of Danish Poet’, wascoproduced 2006).This between the Kove Norway, inFurnes, wasborn on25May 1958. Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 well received by thepublic. Lise I.Osvoll (b. 1979).Basedonatelevision show, itwas children’s feature directed by EspenFyksen(b. 1970)and onnationalking cry television justafterthepremiere. abuse outby carried closerelatives, madetheNorwegian Sinna Mann(‘Angry Man’, 2009)a20-minute filmon child prizes. 2001)won 14international Thorns’, (‘Hedgeof ken tale,fairy madewithcomposerRandallMeyers. Tornehek- Wanted More thanOneCrown’, 1999)isa45-minute reindeer. about how the Sami people used traditional singing to catch tional prizes. Lavrasiid Aigi(1996)isbasedonanoldmyth hermajorproductions have- won interna stein. Allfour of makes multiplane cut-outanimation inspired by Yuri Nor Dovre, she studio upinthemountainsvillageof vanger, 1968)and herstudioTroll-Film. Ina 17January and MagnhildWinsnes areinMikrofilm. newpartners Åkra (b. Næssherself. Cathinka 1960),andKajsa Tandberg Jan OttoErtesvåg (b. 1969),Julie (b. Engaas 1968),Astrid mators that have emerged sincetheearly 1990s inNorway: thetalentedani- pany hasserved asproducer for many of and animator anddirectorNæss(b. Kajsa com- 1970).The and illustrator GunillaBergstrøm. based onabookby theiconicSwedish picture bookauthor Atkins (2013)wasaNorwegian/Swedish children’s film emy Award, while theanimated feature HocusPocus Alfie 94 93 ish Poet’ issensitive, withadeep, subtlehumour. so intelligentlyeasythat itmay be undervalued.Dan- ‘The By HeikkiJokinen. Torill Kove commentsaboutherwork: (‘EliasandtheRoyalElias ogkongeskipet Yacht’, 2007)isa pca eto hudb aeo AnitaKilli(b. Sta- Special mentionshouldbemadeof Mikrofilm is owned by producer Lise (b.Fearnley 1969) Moulton(2014)wasnominatedMe andmy for anAcad - Bendazzi, 23June 2010.) stewingover afilmI’d liketomake. (Torill when I’mkindof but writefor mostlyI just myself Kove, e-mailmessagetoGiannalberto It’sagain. a very and I have increasingly open also and forgivingvery democratic. art [. . .] form written some commissioned scripts, films won’t change the world or even inspire policy, but I doaspire tostirsomething up, beitthoughtorfeeling, withstories. tionships, andaboutwhat from we each learn other. I think I have aresponsibility tomakefilmsthat actually are aboutsomething. My animation skills. semester intheanimationat department Concordia University, andafterwards I enrolled programme. intheirdegree animation themquiteintriguing. that a wasreally quitenew tome, way,This andI found I audited introduced toakindof I was life that mostlyinvolved drawing from theimagination. I couldfindsomething todoin if ariskandsee not feelingoptimisticaboutfindinganotherone. that takeabitof I would I decided I got involved in animation in the early 1990s, fairly late in life. At the time I had lost my job as an urban planner in Montreal and was [. . .] I love animation asanartisticexpression. It isperfectfor peoplewho I love don’t minddrawing thesamethingover andover [. . .] to write and make Primarily filmsI like abouthow[. . .] people relate close to each rela- other. interested I am in the dynamics of hired asananimationAfter oneyear assistantat theNFBanimation studio. I was Itledtootherjobsandtaughtmesomebasic I wascuriousaboutanimation andstartedwatching animation filmsthatrent I could at thelibrary.They were mostlyNFBfilms. Kongen somvilleha merennenkroneKingWho (‘The 93 - Turpo were animated at theNukufilmstudioin Tallinn. Urpo & Finland.For example, partsof thefirst of the Gulf oftencooperatedmakers withEstoniansontheothersideof achild. x-rays thecountry’s through history theeyes of by Heart,produced inFinland, tion). Her2007filmLearned continued towork there (seethesectiononBritishanima- (b. Rimminenmoved 1956).Marjut toBritainin1973and Rimminen(b.Marjut 1944),andtheEstonianRihoUnt directed by LiisaHelminen(b. Turku, 15February 1950), Tumpy’, 1996–1997)featured anarchic teddyandwas bears & &Turpo (‘Umpy poems. puppetanimation The Urpo 1946)andJaana WahlforssNovember (b. 1957)depicted Giraffe’, 1997–2003), by animator AntoniaRingbom(b. 14 was revived. SunIsaYellow kirahvi onkeltainen (‘The Aurinko tion, washeldinTurku. toon Forum, the European cofinancing event for anima- headed by theEstonianmasterPriitPärn. In1995Car Finland’s animation first school startedin Turku in1994, to present theirideasinorder to receive specialsupport. In 1993theFinnishFilmFoundation invited animators animationThe boomreached Finlandintheearly 1990s. Finland in 2001. on 35mmfilm.Itwasalsoscreened incinemasasafeature 13-part serieswascompletelymadeinFinlandandshot 1970). This Mariko Härkönen (b. Tokyo, 2 December by IsmoVirtanen (b. Jyväskylä, and 15November 1965) Jyro’, 2001)isahilariousseriesabout two bugs, directed The puppet animationThe Turilas & ja Jäärä (‘Tootletubs theSoviet Union, Finnishanimation After thecollapseof animated TVseries production independent of The 94 Chapter 3:Finland

135 - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 136 95 fthepopulation watching thefilmontelevision. of been gay. heated The debate endedwithalmost10 percent that theFinnish warhero Mannerheimmighthave Marshal 1918andhints land. It’s aboutthecruelFinnishcivilwarof Away from Ural’,2008),which causedmajordebate inFin- the Gallows’). the BlackSarah’),andfourth, Lauluhirsipuista (‘Songof in the third Legend of episode, (‘The Mustan Saaran legenda language. talesbest-loved The by theaudiencewere those animationthe first seriestelling Rom talesintheiroriginal tales andmusic. Rom The languageversion isprobably Roads’, 2001–2003),isasix-partseriesbasedonRom ally strong, andmadewithpassion. Doctor’, 1996).Herfilmsare surrealist,oftenpacifist,visu- Chamberstorch’, Country 1993), and Maalaislääkäri (‘The sastaja (‘RiderontheBucket’,1992),Kamarihaikara (‘The trilogy, herreputation istheKafka Hiilisangollarat- basis of including theSilver Bearat theBerlin FilmFestival. The puppet animation director who hasreceived several prizes, animationher first in1991.Educated inPrague, sheisa several festivals, includingthePrixduJury inCannes. His by Juusonen Kari (b. Jyväskylä, won prizes at 16April 1967) puppetanimationThe passiondrama PizzaPassionata (2001) racism (Wanted, 1998),andhumanmovement ( Vertebra , 2003). beauty (PrePost , 2007), cuss topics like the Western ideal of anen (b. Paltamo, Herexperimental 6June 1964). filmsdis- travellers smile. withaneternal of drawings show anairhostessonthejob, sufferingallkinds prize and was a Cartoon d’Or finalist. Lindholm’s simple Smile’, 2006)received festival theZagreb student film asheep. his sonaccidentallygetsthebrainsof while intoawerewolf afather turning of 2005), thestory virta (b. 1977)isthepuppetanimation Elukka(‘Animal’, Finnish folk poetry. most powerful The film by Tatu Pohja- loneliness, basedon 2 August 1975) tellsatouching of story MyLook’,2003)by LeenaJääskeläinen (b. Complained of aman’s mind.Monimoittimuotoani(‘Many is astudy of toposti (‘Air Mail’,2002)by Penttilä Kaisa (b. 12April 1975) films.The puppetanimationwith independent filmLen- courses. Several Turku former studentsmadetheirnames other institutionsaround offeringshorter thecountry a good education in animation from theTurku school or By Jónas Knútsson. h one eeaino animated filmmakers received youngerThe generation of LillqvistmadethepuppetfilmUralinThen perhonen(‘Far Lillqvist’s Katariina Lillqvist (b. 1963) made Tampere, 24 May nteeg fmediaartandanimation isMillaMoil- On theedgeof Ami Lindholm’s (b. 1982)ironic Iloirti(‘Irresistible

Chapter 3:Iceland Mire BalaKaleHin(‘Tales from theEndless

inwsprastesrneto them. tion wasperhapsthestrongest of animation techniques were used,thoughpuppetanima- ject matter includedpolitics, socialsatire, andhumour. All andsubsidized bypendent artform public funds. Itssub- education was good. Animation as an inde- was accepted standards –animation studio, AnimaVitae. level The of ter than ever. Therewas a medium-size – by European public andthecritics. premiered inautumn2012andwaswell received by the Brother, BigTrouble’) was directed by Juusonen. Kari It viewers saw the filmincinemas. to over onehundredandmore territories thantwo million in Finland, but it was also the most successful. It was sold animated film was themost expensive film ever produced Santa’s Forces Flying The CGI anddecidestofindhim. of theheroes reindeer Niko, who believes hisfather isoneof Hegner (b. children’s 1964). The film features the young 2008)byto theStars’, Juusonen Kari andDanish Michael mation is the feature the Way – lentäjän poika (‘Niko & Niko the troll Rölli. isbasedonachildren’sstory live-action TVseriesstarring 1963), thoughitwasactuallyanimated inMoscow. The sydän (‘Questfor aHeart’, 2007)by Pekka Lehtosaari(b. from 2001–2008anddrew alarge audience. politics. satire This wasscreened ontelevision onceaweek ture aidedTVseries calledItsevaltiaat,setintheworld of by RiinaHyytiä(b. 1969).Itisbased onamotioncap- Emperor’s(‘The Secret’) was released in 2006 and directed feature first The animation since1979,Keisarinsalaisuus major animation industry, but thishaschanged alittle. per’, 2001)ironically commentsonthewelfare state. was actuallyapig, markkinatalous andEläköön (‘LastSup- mation. live-action todirecting filmdirector clay ani- who turned edy abouttherelationship between afather andson. (‘Birthday’,Syntymäpäivä 2004)isadeadpanspeechless com - 11-minute for minedtheIcelandicsagas his Sigurður Brynjólfsson Iceland After the year 2000, Finnish animation was faring bet- (‘Niko2–Little 2–lentäjäveljekset sequel,Niko The However, Finnishani- thecommercial of successstory Finnishdrawn first animatedThe feature wasRöllin withouta Finland hastraditionallybeenacountry Christian Lindblad (b. isanactorand 29March 1963) Space Pigs(2000)reveals thatspaceman thefirst (‘AudunAuðun ogísbjörninn andthePolar Bear’, 95 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 the director’s newjointventure, GunHil, wasborn. lowed. Inane-mailsentamonthlater, themanager’s and directors. GunnarKarlsson’s resignation fol- the board of differences with themajorityof ignation inthewakeof company’s CEO, Hilmar Sigurðsson, announced his res- at homeandabroad. Toby Genkel, andGunnarKarlsson), which wasasuccess Valhalla – THOR’,2011,directed byof ÓskarJónasson, dio thenmadethefeature HetjurValhallar –Þór(‘Legends the Icelandicpoetandnovelist stu- SjónSigurðsson.The andTerryBjörk, DamonAlbarn, Jones. Itwaswrittenby a 26-minute animated shortwithcharacters voiced by with box office records forashort. went on tobreak LostLittleCaterpillar’ Icelandic ‘The commercials for theIcelandicfruitjuicecompany, Svali. tival. Thatsame year, innovative CAOZ madeaseriesof screened Children’s at theChicagoInternational FilmFes- wayward waseight years caterpillar inthemaking and was (b. a Reykjavík, 4March, 26-minute 1962).The taleof April 1959), from thechildren’s bookby Friðrik Erlingsson 97 96 published achildren’s bookcalledLatibær(‘LazyTown’) to In 1995, Magnús Scheving (b. Reykjavík, 10 November 1964) The Invasion of the Elves tle Caterpillar’) bytle Caterpillar’) GunnarKarlsson presented project, its first Litlalirfan LostLit- ljóta (‘The Iceland’s culturalheritagetouniversal cinema. the content. Perhaps to translate animators will be the first the narrative ratherare than to be in found in the form of on amore basicnarrative thrustinwhich theintricacies obstacle.insurmountable Animated cinema,though,relies heimski (‘Hreiðar theStupid’,1996). inhis20-minutethe sagas puppet-animated film,Hreiðar theworld. revisited Brynjólfsson appealing totherest of thecountry’s culture in away that is and complexities of Icelandiccinemahasbeen torender thenuances lenges of thechal- theworld. Oneof tradition withtherest of or animation, is to share the country’s unique narrative Icelandicfilmmakers, inlive-action dream1993). The of By Jaan Ruus. GunnarKarlssonThis isnotrelated to theSwedish animation producer by thesame name(1924–1985). h odtmsddntls.O ac 2012the goodtimesdidnotlast.On2March The CAOZ stakedtheirclaimasIceland’s answer toDisney In 2002,theIcelandicanimation company CAOZ In dramatic live-action films, thishasoftenproven an (‘AnnaAnna og skapsveiflurnar and the Moods’, 2007), 96 (b. Helluvað, 24 household namesintheUnitedStates. Nickelodeon channel in2004anditscharacters became average Icelander. LazyTown The seriespremiered onthe tomostpeopleare oftenmodestproposalsgrandeur tothe by any standards. However, what seemlikedelusionsof animation andfilmproduction inIceland,thiswas folly of theshorthistory CGI.Inviewof making heavy useof in Icelandwithpuppetsandlive andalso performers, ‘LazyTown’ TVseries, intoaninternational producedof (‘LazyTownLatíbær áÓlympíuleikunum at theOlympics’). followed hisbook’s successwithastagemusical andasequel, promote a healthier lifestyle and diet for children. Scheving Soviet Union asatrainrideinÄrasõit (‘Departure’,1991). visualized Estonia’s departurefrom the 24 March 1953) (b.Setu Slicker’,1993).Cartoonist Heiki Ernits Tallinn, directed thewittySetuvurleJune 1994) küüsis(‘Caughtby films. Aarne Vasar (Tallinn, 6 18 October 1949–Tallinn, remained; in particular, free humour made its way into guaranteedfinancing. their lossof Yet aquestingspirit insecurity,overpowered by mostly because of a sense of tion, hasbeenusedinproduction. 1999–2000, computertechnology, includingCGIanima- feature-length drawn filmsappeared onthescene. Since independence, but days shortsfellinthefirst of ber of drawn animations were completedeach year. num The - or say thingsin roundabout ways. nolongerneededtoveilbecause authors theirintentions Estonian film,includinganimation, changed in character eliteculture. Yettic standards and remainedof acarrier mation succeeded inmaintainingitsextremely highartis- artfulfilms. conducive tothecreation of icy. many-levelled bureaucracy was environment The of and socialproblems, contradictingtherulingculturalpol- worlds. Animated filmsspokemetaphoricallyabouthuman unique animation allowed the creation of character of the Moscow CinemaCommittee (Goskino), the figurative all thefilmsandscenarios were financedandapproved by theSoviet Union,and Even when Estoniawasstillpartof Estonia Scheving then had the idea of turning theadventures turning Scheving thenhadtheideaof In theearly 1990s, Estoniananimation artistswere three puppet and three In Soviet times, an average of 1991. Ani- inAugust Estonia regainedindependence 97 Chapter 3:Estonia

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Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 history.’ .]are really importantinEstoniananimation . shorts [. view Janno’sfrom Gadgetville, see below]. From my point of with two longchildren’s films[Ladybirds’ ChristmasandLotte commonpeople]togetherwithHeikiErnits of memory Love’, 1999)alsoreceived accolades. (‘On thePossibility of Fantoche Festival võimalikkuses inSwitzerland. Armastuse (‘Birthday’) received a special prize from the prestigious Vennad In1994,his Sünnipäev jaõed(‘Brothers andSisters’). was intheNukufilmStudio1991,withpuppetfilm prolific, successfultheatre playwright. Hisdirecting debut acclaim. wideinternational It garnered history. cinema, calling for apersonalizedviewof of tory codirected by Janno Põldma)sarcastically dissectsthehis- Europeanintegrated landscape. film1895 (id.,1995, The envisions wittypossibilitiesfor humanrelationships inthe the Carrots’, 1998) ist West. Porgandite Night of öö (‘The thepseudo-socialistEastwithcapital- living stylesof 2000), which mockedpeasantnationalism. (‘Saamuel’sEurope’, 1997) and Saamueli internet Internet’, serieswithTagasiued theKapsapea Euroopasse (‘Backto dinosaurs, andEECofficials. Later, RihoUntcontin- involves anutty Estonianfarmer, theKGB, theChinese, by RihoUnt(b. It Kose-Risti, 15May 1956). Harjumaa, adventure films 1993) isanhour-long puppetparody of Sprat Bakingin theSun’, (‘Cabbagehead’, 1992).Kapsapea Smoked (‘The surrealfilmswithSprottpäikest võtmas of (1998). the Music-Scale’,1993),andJust married (‘Tortoises’ Endspiel’,1990),Eeselheliredelil (‘A Donkey on and childhood introspections lõppmän g, inKilpkonnade son (b. Põltsamaa,8August 1963) portrayed subconscious vita nova,1992).Bothfilms were pixilated. Peep Pedman- Pärnu, 11August 1957) ridiculedconsumersociety(Incipit test (Elutuba,‘LivingRoom’, 1994),while Hardi Volmer (b. pro- of continued tomake‘pure art’asaform ber 1956) closed down and many took its place. others In 1993, remained high,withprevalent irony andhumor. films annually. thosefilms Nevertheless, theartisticlevel of nine output hadfallentobetween four andamaximum of the2000s animated filmsdeclined.Bytheendof of 138 98 Priit Pärn, e-mailmessagetoGiannalberto Bendazzi,4September 2012. About Põldma,PriitPärn wrote: ‘Heisthere [inthe Janno 1950)wasa Põldma(b. Tallinn, 7November Priit Pärn’s HotellE(‘HotelE’,1992)juxtaposesthe Mati Kütt (b. Tallinn, launched astring 15April 1947) likeRaoHeidmets(b.Filmmakers Pärnu,- 15Septem The Soviet-eraThe monopolistic studio Tallinnfilm was Because they were soexpensive toproduce, thenumber

Chapter 3:Estonia 98 filmmakers born inthe1970s. ÜloPikkov, born filmmakers Priit Tender, and gambling. received itsincome from excise taxes onalcohol,tobacco, established in1995tosupportnational artprojects. It the situation, theCulturalEndowment Foundation was entirelyitants) depended onstate subsidies. To improve inhab- Film production (1.2 million inthesmall country dova (b. Loksa,26November 1984). Salmin (b. Tallinn, 26 November 1979), and Birgit Demi- lika Võsu (later Pikkov, b. Tartu, Elisabeth 9May 1982), August 1970). Shortanimations were alsodirected by Hei - established in1999,headedby MikkRand(b. Tallinn, 1 director (b. wasMeelis Arulepp Tartu, 9May 1965). linn, 26September 1974); thecreative headandanimation ducer andmanagingdirector(b. wasKristelTõldsepp Tal- studio’s 1996).The oma teed(‘WhenLifeDeparts’, pro- animation for Denmark’s Oscar-nominated Kui hingläheb and commercials. studioproduced The thecharacters and French),German, aswell asfor educational productions ish, Swedish, and Norwegian) andTVbroadcasts (Danish, Irish,French,(Danish, German, Spanish,American,Brit- duced hand-drawn and computer animation for features studioin2011.Asaproductionindependent house, itpro - thesame nameinTallinn, which becamean of subsidiary titles –mostlyauteurfilms, but alsoTVseries. his position as producer. annual The output was 30 to 70 and KalevTamm (b. 1966)kept Tallinn, 15November regularly composedmusic for thestudio’s productions theircareers.began Olav Ehala(b. Tallinn, 31July 1950) 1971) and Ülo Pikkov (b. 1976) Tallinn, 15 June ruary Põldma. Itwasalsowhere PriitTender (b. Tallinn, 7Feb- animators PriitPärn, Mati Kütt, andJanno HeikiErnits, filmmakers. Itsincluded owners renowned Tallinnfilm bynian Drawn Films)wasformed drawn animation and Mati Kütt. They includedRihoUnt,Hardi Volmer, RaoHeidmets, film becamehome for many former Tallinnfilm directors. 1941),Nuku- producer Arvo Nuut(b. Tallinn, 13April filmannually.minutes Underitsmanagingdirector of and pet films, series, andadvertising, out30to60 andturned pet film’)wasestablished. Itproduced cut-outandpup- Tallinnfilm’s splinterstudioNukufilm(meaning‘pup- soinaiainto rd nanwgnrto fEstonian animation tookprideinanewgeneration of financing. stateThe remainedsource theprimary of smalluniversal productionThe studioMultiFilmwas In 1994,theDanishfilmstudioA.Filmestablished a studioEestiJoonisfilmIn 1994,theindependent (Esto-

Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 tel Tall’s children’s films(Porgand Carrot’, 2003;and , ‘The h osblte fclay animation were explored in Pär possibilities of The Table’,(Laud, ‘The Dress’, 2004;andKleit , ‘The 2007). woman’s world grotesquely andingeniouslywithpuppets 2007; andLili,2008). Penguin‘The Parade’,, ‘NorthDragon’, 2002;Põhjakonn existential angst(Pingviinideparaad, contemplations fullof Vennad, ‘Brothers Bearhearts’, 2005), as well as Karusüdamed Unt continued tomakeentertainingchefs d’oeuvre (e.g. 106 festivals andsnappedupprizes. Puppetdirector Riho hascreated. filmwasselectedtoscreen The at he himself the BigCreatordepicts losing control over the world that puppet filmdirector RaoHeidmetsandartistNavitrolla, and 2008) andby Hardi Volmer (Barbarid,‘Barbarians’,2003; , ‘Inherent2006; andKaasasündinudkohustused Obligations’, dmets (Instinkt,‘Instinct’,2003;Pärlimees, ‘Pearl Man’, 2001). Mosquito andHorse’, Mice’, 1998,withPriitTender; andSääskjahobune , ‘The Rand’s visionisprimitivist(Vares jahiiredCrow, ‘The and Way‘The toNirvana’, 2000;andGeneratio, 2005).Mikk manner (Päevavalgus, ‘Day Light’, 1997; Teekond, Nirvaanasse vidual’s relationship with the world in a sensitive, naive ‘Marathon’, 2006). (Weitzenbergi tänav,‘Weitzenberg Street’, 2002;andMaraton , Arts, Jancis 2010);andKaspar Estonian Academy of animation, Animasophy,excellent of bookonthetheory Life’,2006.Pikkov alsoauthored an Elu maitse,‘Taste of theMonkey’, 2003;and muda, 1998;Ahviaasta‘Year of 1996; grotesquerie by Priit Tender (Gravitatsioon, ‘Gravitation’, self-fulfillment andfailures were portrayed withplayful tity, cinemawasinvigorated by shortfilms. Personal TVstations.for international managed to become economically secure by making series main animation studios, EestiJoonisfilm andNukufilm, festivals.at international Inthemeantime, thecountry’s Volmer, RaoHeidmets),Estonianfilmscontinued toshine 1940s (PriitPärn, Mati Kütt) and1950s(RihoUnt,Hardi ber 1977) similarly dominated inpuppetfilm. (laterMari-Liis Karula Bassovskaya, b.- Võru,18Septem anova (later Girlin, b. Tallinn, and 10 November 1979), Pärtel 1977),Yelena Tall (b. Yemely Tallinn, 19April - drawn animation. MaitLaas(b. Tallinn, 4August 1970), Jancisand Kaspar 1975)towered (b. in Tallinn, 8 May Jelena Girlin andMari-LiisBassovskaja the depicted Cultural mythologies by were transformed RaoHei- Mait Laas(b. Tallinn, shows theindi- 4August 1970) While theoverall filmproduction wasmodestinquan- in the born themasters Together withtheworks of Lõpuõhtu, ‘Closing Session’, 2007). Instinkt, by the Viola, 1999;andMontBlanc,2001);ÜloPikkov (Ber- - ilnefe ol fwhimsical characters. violence-free world of directed by andJanno HeikiErnits Põldma,itcreated a ten by Andrus Kivirähk(b. Tallinn, and 17August 1970) Leiutajateküla Lotte(‘Lottefrom Gadgetville’,2006).Writ - feature madeespeciallyfor movie theatres wasreleased, a Christmastree. Inlate Estoniananimated 2006,thefirst mas’, 2001),abouttwo ladybirds brought into ahouseon Põldma’s feature jõulud(‘Ladybirds’ Lepatriinude Christ- country’s animation work. known animation masterandaspecialselectionfrom one Each year, onewell- thefestival presents aretrospective of shortanimation contest. section includesaninternational November.annually at Animated the endof The Dreams Pärn, produced adelightfullyironic script. animation, Priit incorrectness. Estonia’s oldmanof grand American superagents, withabsurd humour andpolitical two political satire. film The followed theadventures of Tallinn BlackNightsFilmFestival. ItwasaSouthPark-style theEighth Tender) openedAnimated Dreams, partof Jancis,Pärn anddirectorsKaspar ÜloPikkov, andPriit ja Wendy (‘Frank & Wendy’, by scriptandartdirector Priit mark, 21January 1955) andMeelisArulepp. directedThink’), by Kiilerich (b. Karsten Slagelse, Den- children You calledMismõttes?(‘Things about theworld of A. Filmproposed series aGerman-Denmark-Estonian series DVDs. the advent of They becamevery popular among Estonianfamilieswith animalcharacters withhumourandnoviolence. tures of Both were drawn animationthe adven seriesdepicting - (‘Lotte’s Journey South’,2000),by andPõldma. Ernits andJannoErnits, Põldma,aswasLottereis lõunamaale dren by directorsLeoLätti (b. Tallinn, 9June 1957), Heiki filmmaking.tary studio closedin1995hedevoted histalentstodocumen- his own animation StudioBfor thispurpose. Whenthe 1989–1992).Hefounded Dangerouslennud, ‘The Flights’, tried his hand at an adventure series for children (Ohtlikud founded Estoniandrawn animation backinthe1970s, Scarecrow’,Miriami piknik,‘The 2007). Andrus Tenusaar (b. Tallinn, authorof 22January 1977, Õhus,‘IntheAir’,2009)and 1982,authorof October the newfilmmakers were MartiusDaaneKlemeti(b. 21 Porgand Carrot suvitab, ‘The on the Beach’, 2008). Among One popularsuccesswasHeikiErnits’s andJanno TallinnThe BlackNightsFilmFestival (PÖFF)isheld thedrawn animation featureIn December 2004, Frank From 2003,Nukufilmstudioalsoproduced theirregular Tom jaFluffy(‘Tom & 1997)wasmade for chil- Fluffy’, 1931),who had Rein Raamat (b. Türi,20March , namedafteritsgirl character.Mirjam company The Chapter 3:Estonia

139 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 f xeietto.Frisac,egtdrcoso Eesti experimentation. For instance, eightdirectorsof of 2006, cochaired by PriitPärn andÜloPikkov. animation wasestablished intheEstonianArtAcademy in Estonian FilmMuseumopeneditsdoors. A department of Rein Raamat, andPriit Pärn) were restored andanew eral classicanimated films(by Elbert Tuganov, Heino Pars, footagedocumentary withanimation. reconstructs theerafrom the1950sto1990s, blending who founded Estonianpuppetfilm.It 13 October 1925), 22 March 2007) andHeinoPars (b. Mustla,Viljandimaa, Tuganov 1920–Tallinn, (Baku,Azerbaijan, 22February Time’, 2008),by MaitLaas, isaclever filmaboutElbert Estonian animator, Kingsof PriitPärn. Ajameistrid(‘The produced by Arko Okk)portrays themostcelebrated script by Toomas directed Kall, by Hardi Volmer, and Animation’, 2005; animatsioonist (‘Pärnography –Manof –mees Estonian animation. Pärnography of about masters animation. coveted European Cartoond’Or, thetraditionalaward of dill (‘Crocodile’, 2009),by Jancis, Kaspar won thehighly mund Freud’s subconscious. Sig- Dalí and Alfred Hitchcock, and the exploration of tothemoon,meetingswithSalvadorscale –ajourney few canbreathe’. Itexplored dream logiconagrand tation withsurrealist powers andrisesintoheightswhere 2010) washailedby criticsasafilmthat ‘overcomesgravi - among Estoniansurrealistartists. HisTaevalaul (‘SkySong’, theDream’, 2006).Kütt becameprominent Institute of odüsseia (‘Button’s Odyssey’, 2002),andUneinstituut(‘The puppet works: Põrandaalune (‘Underground’, 1997); Nööbi Oranus (2009)by Jelena Girlin andMari-LiisBassovskaja. Rain’, samemoodpervades 2010).The the puppetfilm So doesthefilm’s successor, Tuukrid vihmas(‘Divers inthe danger. tion creates sharp, potent,andsurrealvisionsof Ferrita (‘LifewithoutGabriellaFerri’, anima - 2008).The ued exploring humancommunication inEluilmaGabriella Pärn (b. Minsk [Byelorussia], 1 January 1976) and contin- 140 103 102 101 100 99 ). theCarrots 1992 hewon theBaden-Württemburg Prize (for inStuttgart HotelE)and1998hetriumphed inOttawa (for Nightof ewe eis&UtrIltrc:ASoyo EstonianAnimation,Varrak, Tallinn,Chris Robinson, of 2003. BetweenGenius &UtterIlliteracy: A Story RussianmasterIn 1971,thespecialized drawn animationJoonisfilm department wasestablished, FedorKhitruk. withthehelpof David MacFadyen, Yellow Crocodiles andBlueOranges: RussianAnimatedFilmsinceWorld War Two, London,McGill,2005,p. 71. By Midhat Ajanovic´ andDoiNobuaki. Pärn won topprizes in1988(for inZagreb Breakfast ontheGrass), 1996(for1895 ),and2010(forDivers Pärn). In inthe Rain,withOlga Through thedecades, Estoniananimationitsspirit kept theEestiFilm100project in2012, sev- of In thecourse In addition,there were two well-made documentaries A grotesque andmelancholic drawn animation, Kroko- Meanwhile, Mati surrealismcarried Kütt’s powerful MarchenkoPriit Pärn teamedupwithhiswifeOlga

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aiaueo Soviet society.caricature of Everyone and everything planet. being from a distant would likely give the impression of cature are notdeep-rooted intheculture, Pärn’s work Pärn’sto grasp films. Inplaces where cartoonsandcari- with cartoonlanguageandsymbolismisprobably needed familiarity A basic imagesandmetamorphoses. tions of combina- satirical inincongruent pictorialmetaphors animation involvesan animation director. Hisnotionof presents important issueswithabsurd black humour. mainly from Poland andCzechoslovakia. Asacartoonist,he stylecame be describedas‘grotesque realism’; hisgraphic sages withsubtle, eccentrichumour. Hisdrawing stylecould originality. Hewasable tofindways toconvey satirical mes- Hiroshima,gart, Brussels, andOttawa. 80 prizes festivals at such international asZagreb, Stutt- an hourinlength.Hiswork hasbeenawarded more than short filmsandadvertisements, as well asfilmsuptohalf working at Joonisfilm in1976.Hisoutputincludesmany Tallinnfilm Studio, wasestablished in1957. original visionandtheirappetitefor experiments. mated filmsit made were recognized for theirauthors’ ‘both national in form andsocialistincontent’. ‘both national in form cartoon’MacFadyen which was callsthe‘Soviet typeof what David gia. They contributed of totheformation in theUkraine, Yerevan andTbilisiinGeor inArmenia, built upinSoviet centres such asTallinn inEstonia,Kiev tobe 1950s onwards began animation studios gradually tralization andbalancedethnicrepresentation, from the decen- NikitaKhrushchev’s policyof As aconsequenceof Priit Pärn the animationonstate stilldepended subsidies. since thefilmsthat causedconcern, bution andfundingof , ‘BlackCeiling’,2007).Itwasthedistri- poems (MustLagi Joonisfilm produced filmsbasedon well-known Estonian What Pärn strove for inhismoving cartoons was a He remained agenuine cartoonist even when hewas ändsigihdhmefthrough hisexpressiveness and Pärn distinguishedhimself inTallinn began Priit Pärn, born on26August 1946, Nukufilm, theanimation department attheEstonian 99 103 101 100 The ani- The 102 - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 line between the plausibly “real” and the overtly “surreal” life. As Wells puts it: ‘Animators enjoy exploiting the fine theworld where heiscondemnedtospendhis picture of are nevertheless sure we have seenin some timeandplace. strange imagesthat we cannotseeinreality but that we and anindividual’s subjective perception. They appear as everyday life betweenboundary thephysical reality of Pärn’simagery. filmsbalanceonthesubtle Almostallof and expression are characterized by somewhat esoteric scious and in even more obscure places. Pärn’s symbolism time. Hesearches for imagesburied inthesubcon- deep their the naked eye and leave no trace in the media of his society – those that are not visible to levelsdeepest of tutr,wt eea itntlvl fmeaning.structure, withseveral distinctlevels of buried much deeper. hisfilmshave Thus a multilayered ing isbanal,while thereal intentionsandmessagesare inat leasttwobe interpreted ways. Superficiallythemean- meanings toemerge by themselves. Oftensomethingcan Instead, hegives onlyvisualindications andallows their camouflagedmessages. system of presents arecognizable reality. Ontheother, hecreates a films. Ononehand,heartfullyobserves, decodes, and hisanimated resistance, which reinforces andbindsallof domineering empire. Pärn’s cartoonsoriginated from that anartistfrom asmallnationhuge, against resistance of dition, and history, Pärn’s films also express the powerful that theso-calledsocialistsysteminflicted. thehorrors Union andanextremely realistic picture of theSoviet images, Pärn gives usafaithfulportraitof features. Through theseabsurd, paradoxical, anddark cature, which emphasizes itsobject’s mostcharacteristic asacari- mostcloselywhen interpreted resembles itself 108 107 106 105 104 fashion unavailable elsewhere’. the criticPaul Wells putsit, they show ‘social “truths” in a show real situations andmentalconditionstangibly. As Therefore, these meanscanbeconstruedasrealistic. They associationsgers withmanandhisrecognizable world. toon, even onedrawn freely andcarelessly. Italways trig- (Hardi Volmer, Pärnography In thedocumentary Estonia,2005). soundtrackischaracterizedThe by Western popularmusic. (Tom thebureaucrat.) Jones accompaniesthenostalgicmemories of EstonianAnimation,Varrak, Tallinn,Chris Robinson, of 2003,pp. 140–141. BetweenGenius &UtterIlliteracy: A Story EstonianAnimation,Varrak, Tallinn,Chris Robinson, of 2003,43. BetweenGenius &UtterIlliteracy: A Story Paul Wells, BeautifulVillage ‘The andtheTrue Village’, Art &Design3–4(1997):41. By describing inner realities, Pärn gives us a credible Pärn useshiscartoonsasamicroscope toinspectthe There is no such thing as an abstract caricature or car To evade the censor he did not use obvious symbols. Estonianculture, tra- In additiontocertainfeatures of 104 - be screened inEstonia. the filmcausedsomecontroversy andwasonlyallowed to ing toanimation scholar ChrisRobinson, andPärn himself, ble truths’assomethingbuilt onvapour, notreality. Accord- Earth Round?’, 1977)wasasatire portraying ‘unquestiona- pler drawing style to weave a succession of incongruent incongruent pler drawing styletoweave asuccession of mostly young, audiencescametoevery showing. was shown incinemasbefore themainfeature andlarge, Soviet film theformer Union.The within thebordersof cleverly withsexual fantasies. ‘Triangle’ waseven popular in thesceneswithwoman andthedwarf, which play Pärn wantedtostress theirphysical sexuality, particularly correct bodily proportions. was presumably This because ized inagrotesque manner, Pärn’s characters have almost ited by agreedy dwarf. Despitethefactthat they are styl- ilso dullcolour. fields of bureaucrat, drawn inasemi-realistic styleandpaintedin occupied homeland’s situation intheSoviet Union. from thetitle, thefilmcanbe read as Pärn’s reaction tohis iseseisvaks eluks (‘Exercises for Life’). Right an Independent best children’s film at the festival in1981. Varna AndPlays Tricks’), (‘. . . trikke which won theaward for the ideological certainties and illusory culturalstabilities.’ideological certaintiesandillusory ther, and much more importantly, challenges homogenous objectivity, andfur because itexposes thefalsehoodof between afather andson. arelationship partly duetoPärn presentingof itasastory That was thefilm.filmgotpastcensors end of cratic Soviet Union,which beginstobreak down at the between little, West-friendly Estonia and the big, bureau- asacomplaint aboutthefight might alsobeinterpreted dates theirreconcilable conflictbetween two ‘worlds’.This about father and son, about two generation, Pärn eluci- trasting scenesbetween thetwo characters. Inthisfilm theanimation playful.combinations are warm, this sideare sketchy, bordering onchildish; thecolour protruding front teethmoves manically. pictures The on Pärn’s (‘Isthe solofilm,Kasmaakeraonümmargune? first Aeg maha(‘TimeOut’,1984)usedasomewhat sim- Aeg In Here Pärn contraststwo worlds. Inonethere isa He madeanothersatire onsocietyin1981,Harjutusi hr sarpdmnaeo interchanging andcon- There isarapidmontageof Kolmnurk (‘Triangle’, coupleisvis- 1982),amarried 107 Intheother, afunny figure with 106 . . . Ja teeb In1978hedirected . . . 108 Chapter 3:Estonia

105 141 - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 the drawings are ones that existed down deep in people pessimisticfeelingsradiatedcreep undertheskin.The by stage walls. bureaucratic pen-pushers, orscrawled onfake mind of ance intheSoviet Union.’ dailyendur society by givingviewersarareof glimpse Communist ‘Pärn trenchantly critiquestheabsurdities of ‘real-life socialism’.InRobinson’s words,nizable scenesof absurd but easily recog- urban environment, composed of characters, two femaleandtwo male. Around themisan ness, fear, andanxiety. conveys mankind’s emotional condition, marked by loneli- intrudingmentalimages, Pärn an associative montageof figures, and images, thebody movements andgestures of satirical animated films ever made.Through incongruent themostremarkable been writtenin1983).Itisoneof (‘Breakfast on the Grass’,1987,whose scripthad murul Pärn hadtheopportunitytoproduce his30-minute Eine the Soviet Union. film companies up until the breakup of peared almostcompletely, but thestate financed various andperestroika.1980s withglasnost disap- Censorship thefilm’. build upthelogicalstructure of like, mathematically structured thinking, which helpsusto that have previously never beentogether;andengineer- thinking, which meanstoputtogethertwo ormore things 142 110 109 the samehead’. thinkingat thesametimeandin organize two ways of sea. into two eyes andafigure filing down waves tocalmthe ous images–for example, ahenlayingthat glasses hatch possibilities through effective and inventivevery - incongru ited by physical laws ortime. Pärn conjures upthelimitless totalfreedom, aspacewithoutbeginningorend,unlim- of void beyond thescreen, andtimeceasestoexist. omnipotent animator intrudes, throwing the clock into the the dictates from aclock. But thehandof of in theform a room. Hetriesclumsilytofollow aschedule that comes static jokes. part, Inthefirst weseeacat-like character in kindwithinstant, every film combinescumulative jokesof animated cartoonsthat challenge the material world. The Sweden, September 2005. ewe eis&UtrIltrc:ASoyo EstonianAnimation , Varrak, Tallinn,Chris Robinson, of 2003,p. 154. BetweenGenius &Utter Illiteracy: A Story Priit Pärn’s quotations are takenfrom hislecture onnarrative techniques inanimation at theFestival for Animated FilminEksjö, Pärn captures strange imagesthat causeuneaseand h orpr imdsrbsteeeya ie f four four-partThe film describesthe everyday lives of Pärn’s breakthrough international cameinthemid- According to Pärn, tocreate animated imagesis‘to ina world Pärn’sThen character suddenlyfinds himself

Chapter 3:Estonia 109 Tetowy fthinkingare ‘fantasy two The ways of 110 Humanityonlyexists inthe - and asteamroller rolls over hispainting hand. totheirbrutalworld,return where Picassoliesinthestreet into imagination lastsonlyamoment.They are forced to famous painting, Breakfast ontheGrass. Butthisescape happiness inafantasyworld; they are unitedinManet’s theboss’s wound. flows outof Eduard usesateaspoontogougeouttheboss’s eye andink so that hisone-eyed bossislikeaCyclops incomparison. the smallerhebecomes. Finally hehasshrunktoadwarf, looks like a giant. But the nearer he comes to Moscow, washes away herdrawn-on ‘face’. while therain herself portraitsof smashing awallof identityculminates inthedespairingBerta for thelossof resent her eyes, mouth, and nose. painful metaphor This face used to be she draws on a few clumsy lines to rep- when her baby appears. On the empty space where her from outside. else, while marching music from bandcomesin amilitary greyness. Georg sitsinashabby flat, dressed like everyone whole picture melts, fade, thecolours andallthat isleft window openand Georg’s dream isblown away. The chimes inthebackground. Suddenlythewindblows the moves before amirror, while beautifulclassicalmusic drawing room, gymnastic stretching andperforming to obtainthedesired fruit. fruitless attempts togettheappleAnnamust sellherbody and amarket where peopleselluselessthings. Aftermany rain,wind,anddeaddogslyingonpavements scenes of yellow.painted inaglowinggreenish ing over acity. onlythingthat The isnotgrey istheapple, streets. You canalmostsmellthe brown coalsmokehang- metropolis. dressed peopleshuffle Uniformly around the scale, paintingadepressingeveryday sceneinthesocialist partismadeinagrey This - almost emptysupermarket. drag himaway. cass, while policemenorsecret serviceagentscontinually black birds flies above his head likevultures circling acar of thread isastylized figure representing Picasso. A flock imprisoned inanideologicalnightmare. unifying The Finally, the four main characters findcomfort and lastcharacterThe inthequartet,Eduard, initially Berta isthefilm’s third character. Shelosesherface In thesecondstory, we seeGeorg inanaristocratic monotonyThe andhopelessnessare underlined by story,In thefirst Annatriesto buy anapplein - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 funding camefrom thestudioJoonisfilm. they stillneededtomakeupthecost.InPärn’s case, the themoney for theirproductions, though percent of 70 from thegovernment isonefactor. Animatorsgot30to ei eoe ao oi inhiswork. media becomesamajormotif mass unconsciouspeople. influence of The behaviour of tor oratotalitariansociety. It’s anentitythat definesthe power, that itmay notbeamanifestenemy likeadicta- selves. istheworld This after everyone achieves freedom. what they really doisdestroy everyone, includingthem- now dominates theworld. characters lookhappy, The but theColdWar meansthis‘dream’ can Dreamendof . The Ameri - dience. In‘HotelE’,there isaTVseriescalledThe without any order orcompulsion.Itistheirvoluntary obe- to actinritualisticways, justlikepeopleinthe grey world, their lives are perfectandtheiractionsare theirown. nothing tosay. worstthingisthat The they seemtothink fine.’)They have thefreedom tosay anything but have ited todumbsentences(e.g. ‘Ohshit’,‘How are you?’, ‘I’m Buttheirwordsthe freedom and lookgraceful. are lim- better. Peopleworse insteadof inthecolourfulworld enjoy maker pointsoutthepossibilitythat societywillbecome thetwo rooms inHotelEurope. film- The just likethat of areepisodes setinadistantpastandtheirrelationship is theRedeemer.the Traitor two Legendof These andThe imagined. not asgoodEasterners gone between East and West and knew that the West was sonal experience wasputintothefilm. hadcomeand Pärn is warning the viewer.is warning According to the filmmaker, his per better lifeintheWestern system. rienced aradicalsocialchange andpeoplehopedfor a was completedin1992,immediately afterEstoniaexpe- theWest. film The andslowcolourful, elegant, world of theEastandbeautiful, monochrome, busy world of Europe’. A wall anddoordividetwo rooms: theugly, grey, what shouldberesisted, afterthetotalitariansocietycollapses? you canuseajokethat theenemy doesn’t But understand. you cannot fight with too strong an enemy,for the weak. If Studio isco-owned by thefilmmakers, including Pärn. tions wasapopular character calledLotte, andtheincome from theseriesenabled thestudio toproduce ‘auteur’shortfilms. Joonisfilm 111 onsimwsoc rnho the national production companyJoonisfilm Tallinnfilm.It becameaprivate wasonceabranch of company in1993.Amongits crea- How did Pärn succeed in the post-Soviet era? Support Pärn takesnotesthat power doesn’t always looklike At theend,everybody sitsaround thetable andstarts filmbeginswithtwoThe introductions:The Legendof The filmseemsto The reflect such aview, but in reality Pärn mainstageinHotellE(‘HotelE’,1992)is‘Hotel The resisting Pärn’s attitude isrebellious, hishumouraway of 111 - study at LaPoudrière, inValence. felt sheneededmore education andmoved toFrance to the studioasanartdirector andanimator. Butsoonshe startedhercareer at director atherself Belarusfilm.Olga ily. HermotherElenaPetkevich worked asananimation on1January 1976born inMinsk,intoananimation fam- real personality, separatefrom theimageswe expect? but they becomeuniversal images. filmasks:Isthere The a a celebrityinthebigcity. figures The are actualpersons, ryone’s expectations. girl, Marilyn,acountry yearns tobe whoescape hispositionasasuperstar must live uptoeve- include Karl MarxandMarilynMonroe. Karlto istrying Pärn’s post-Soviet films. The characters periodof first blame for theirown badlives –even arabbit. the visible evil gone, peopleseekanalternative figure to a carrot andeverything willbepeaceandhappiness. With theCarrots’, when every into rabbit willturn a ‘Nightof hidden somewhere dream insidethehotel.Characters of (like becomingacelebrity). being anonymous andcanboastadistinctive personality room. They don’t lookhappy at all,althoughthey avoid happytest. The fewwho canmakeitinsideare shutina However, they fail,sothey surround thebuilding and pro- amysterious group called PGI. of and becomemembers always inthemassmedia.Many toenterahotel peopletry fable, basedonthecheap catastrophe storiesthat are 1998) isafindesiècle one. filmlookslikeamodern The exposure tocinema,andwe don’t notice. theworld by istransformed our tive; ourperception of Paris.)- Cinemaisdecep is viewed from theperspective of we tendtobelieve. (According toPärn, theworld in1895 because they are basedonbiasedimages, ontheimages falseinformation. though thefilmisfullof ing andcaptivating. viewer The feelscatharsisat theend, dies from famousfilms. isinterest Butthemade-upstory - citations andparo- theplotconsistsof history. Mostof how itinfluencespeople’s of memoriesandunderstanding Brothers andtheirinvention. Itisafilmaboutcinemaand ontheLumière cinema,1895.Itisafakedocumentary of Olga MarchenkoOlga (whoPärn in2008)was becameOlga Karl (‘Karl and Marilyn’, ja Marilyn 2003) sums up the Important point:there isapowerful enemy, evil rabbits, the Carrots’, Porgandite öö (‘Night of atmosphereThe of Oddly, theseimagesare intheirown way believable In 1995theartistmade, for thecentennialanniversary Chapter 3:Estonia

143 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 2008) love withtheEstonianPriit. selves. speaksRussian Olga very fluently, andshefellin mate collaboration, exemplified andPriitthem- by Olga inti- between Estonia andRussia gotothenext level of has aRussian filminsiststhat accent.The the relationship narration isina ‘true’ Estonianaccent, while thewoman tobreaktry itaway from thehistorictragedy. man’s The thefilmmakers By repeatingandagain, the poemagain poem many times. voices starttolaugh. The gradually tionships between lovers. feelings andlaughter, reflecting strange but strong rela- intimate filmisfullof addedanewdimension.The Olga ple toSiberiaandtheirmassacre by theRussians. Priitand Estonianpeo- MyHead’,basedonthedeportationof of choseOlga Jüri Üdi’s ‘IFeel a LifelongBullet in the Back erase very easilyanddolightingfrom underneath. and sand.Drawing onafrosted letPriitdraw glass and alreadypainter). Olga hadexperience makingfilmsinoil nique for animation (althoughheuseditfrequently asa charcoal animation,timePriithadused thistech thefirst - by2007), ananthology Estoniandirectors. They chose (‘BlackCeiling’, started withashortsegmentinMustLagi they couldmakeanimation together. collaboration Their era so that could get a visa and move Olga to Estonia so stopped makingfilms. tothemovie He returned cam- him tobehertutorwhile film. shemadehergraduation workshopa storytelling at LaPoudrière asked andOlga soon fell in love school withthem. The invited Pärn to run films. Olga foundPriit’s filmsinthe and school library 144 113 112 Death. he wantsby hishand,includingpeople, andhereally is istheexception. Hetakeseverything she hopesfor, a thief world where nobody canget theconnectionsthat heor siastically, but them.Inthis theirlonelysoninterrupts boyfriend. andawifecaress A husband each other enthu- her own hands softly,of symbolizing the parting with her with Olga. wifein2004andhisencounter hisfirst rience: thedeath of what enabled himtomakethefilmwashispersonal expe- By Ieva Viese. Gabriella Ferri (1942–2004) wasanItalianfolk singer. Elu ilmaGabriellaFerrita (‘LifewithoutGabriellaFerri’, Both aman’s voice andawoman’s voice narratethe ‘Black Ceiling’animated Estonianpoems. Priitand reignitedOlga Priit’s creativity at atime when hehad Her motherstrongly urged hertowatch PriitPärn’s A young woman dives one into water after grasping

Chapter 3:Latvia 112 deals with personal topics. dealswithpersonal According toPriit, trap themselves. theSoviet Empire, hecriticized how people collapse of templated asociety that madepeopleobedient.Afterthe are trappedinsome context. Inthesocialistera,hecon- his approach remained thesame. Heobserves peoplewho endured through many importantpoliticalchanges, but animation. on aninnovative technique that combinesdrawn andsand PriitandOlga’s great films, itisbased desert. Anotherof theirplaneinthe to faceafterhaving survived thelossof trates thereal worlds andimaginary that three pilotshave and hislover. diver slowly recognizes thetremendousbetween gap him doesnotevolve.the story Through many tiny episodes, the people softly, matching theoverall atmosphere. Purposely, communication. Thereisalways rain;itssoundisolates of goodbye. filmisaparable The aboutisolation andlack meetings are brief:they justhave coffeetogetherandkiss as adiver inthedaytime; sheisadentistat night.Their man andawoman who live inthesamehouse. Heworks Speˉle arDzlıˉvıˉbu (‘A GamewithLife’).Piemineklis(‘The production at Daukawithhislastfilmbefore retirement, ate Burovs theDaukastudio. In1991,Arnolds initiated Šmerlis joinedforces tocre- inthedistrictof makers filmmakers. financialsources became themaininternal for animation jects, extendingThese two tofilmmakingin1997. bodies Capital Foundation wascreated tosupportculturalpro - films.The National Culture commercial distribution of documentaries, and animation. It also supported the non- separate financialsupporttofictionallive-action films, fromindependent thestate. sion in1990proclaimed that allartisticassociations were ever, deci- animation survived quitewell. A government easy andsometimesledtoproductions collapsing. How - Union, Latvia’s transitiontoamarket economy wasn’t Following the country’s from independence the Soviet Latvia Pärn’s career asadirector startedinthe1970sand Lendurid Koduteel (‘Pilots on the Way Home’, 2014) illus- Tuukrid Vihmas(‘Divers intheRain’, 2010)isabouta The puppetanimatorsandthedrawnThe animation film- A National FilmCentre wasestablished togrant 113 Latvia PB Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 PB Be a studiofor drawn animation only. Roze StiebraandAnsis successful. different, andtheir cooperation onthesetwo films wasn’t However, theseparategroups were quite thetechniques of Latvianand Nesy’,1991),thefirst animated feature film. tional filmaboutnatural processes had extra significance. Latvian bear swamtotheextremely distantRo 117 116 115 114 literature. tinued themes and characters from pursuing folklore and Pu Zarin¸špars joinedtheteam,aswellValts ascomposers artists asHele in cooperation with Latvian artistsandmusicians. Such producer by 1993. Latvian (Rainis, authors Aspazija,Fricis Ba based on poems fromin total) was made with storylines their films. children. national The television channel premieres allof withlocal heritage andthestudioisprimarilyconcerned Played, I Danced’,2007). Unusual2001),andSpeˉleˉju,(‘The Rigans’, dancoju(‘I Dzirnavin andlullabies.ers) OthersignificantfilmsincludedKakıˉša ayo thedirectorsnever madeanything significant. many of episode. However, theinitiative wasafiasco overall, and Baumane. There was a different director for almost every directing experience, Praulin¸a includingInga andSigne The filmsfles’). were made by youngartists whohadno ferent directors:Raˉveˉjsleˉdzeˉjs Zip’)andKrikši(‘Trif (‘The - Itwasapopularhit. Cimermanis. pet seriesAvarijasBrigaˉde (‘Rescue Team’), directed by Ja the comicpup- episode of Monument’, 1991)was the first iudteeioe f‘Rescue Team’. studiomade tinued of The theepisodes screenwriter, and children’s Ma storyteller Briga Baby World’) ComesintoThis directed theeducational Kaˉ beˉrnin ˉce, UģisPraulin¸š, andIngusBaušk¸enieks. They- con ˉrzin¸š Latvia During theSoviet period,peoplewere heldbackfrom discussingthemesconnectedtosexual lifeandchildbirth. Therefore, thiseduca - The titleisdeliberatelyThe putinadialect. Itmeans‘A Poem aboutThreshing’but itisusuallyleftuntranslated incatalogues. This titleisnotinLatvianThis but intheEstonianlanguage, wasderived storyline from meaning‘thebeariscoming’.The real news:a After failing – for financial reasons – to finish a feature animation of his own,AnsisB After failing–for financial reasons –tofinishafeature animation In 1992,thepuppetgroup splitoffandDaukabecame The seriesPasacinThe The puppet filmmakers calledthemselves puppetfilmmakers Anima The Latvian cultural Dauka’s filmsare considered apartof In themeantime, Roze StiebraandAnsisBe shortdrawn films followed, made Twoby dif- seriesof ˉde. Ja 115 (‘The Cats’ rıˉdzinieki¸as (‘The Mill’,1993),Neparastie continued working anddirecting drawn films, nis Cimermanis (working withtheproducer,ˉnis Cimermanis ˉna Heinrihsone, Juris Petraškevicˇs,- andKas (‘The LittleFairytales’,¸as (‘The 26films 114 andNessunNesija(‘Ness ¸š naˉk pasauleˉ (‘How a ˉris Putnin¸š) con- n¸ u (Ruhnu) islandbelonging toEstonia. ˉrda, andoth- ˉrzin¸š ˉcijas ˉnis ietro Animation. Director of the national film festival’s LielaisKristapsPrize for Best the filmCauraˉ maˉja (‘LeakyHouse’),which won Skapa series ‘MunkandLemy’ were followed by the Seven of episodes children’s shortat the Berlin FilmFestival. International and Lemy’. Hesoonreceived Bearfor theCrystal best ‘Munk cameraman,startedworking of former onepisodes Brinkmanis (b. Tukums, Skapa 29September 1975). E May 1973), 1969), Dace Rı 25 September Riga, oyo Latvian folk, followed in2008by KaruTuleb! of tory Latvian’,Latvietis (‘The 2007)isanironic lookat thehis- thesameimportanceasany festival. a culturaltraditionof made novel by Alexandre Dumas). and (‘Props andBerta’,codirected withDutch director Per Fly) worked onthepuppetfeaturesCimermanis Props unBerta coproductions.for international Underthisbanner, Ja duction company Zentropa tofound theAboomStudio (‘Animals’), andRezgalıˉbas (‘Mischievous’). other series:MunksunLemijs(‘MunkandLemy’), Zveˉri (Si fHope’,2007),andothers. kuģis (‘Shipof Up,(‘Hurry Up!’,2005),Cerıˉbu Münchhausen, Hurry 2008). Ma Ice’,2009)andJaunaˉ(‘Master of NewSpecies’, Suga(‘The Happiness’, 2009).E ruˉk¸iMiega (‘Dream Dwarfs’,Cuˉkas 2006),and laime(‘Pig’s n Putnin¸š. aˉ Among her films are J Be Roze StiebraandAnsis Be from thoseof it wasclearthat hisideasfor ananimation studiodiffered Vilnis Kalnaellis, hadstartedworking at Dauka,but soon thestudio, theproducer was founded.managerof The animation until1995,when theRijastudio of makers ˉrzin¸š theirfilms;the prioritized thelocaldistribution of New talents appeared at the studio: Nils Skapa Dace Rı Cimermanis directed short films as well. In 2004, he Cimermanis In 1998,thegroup teamedupwiththeDanishpro- Dauka andAnima Trıˉs basedonthe ThreeMusketeers’, (‘The musketieri Poeˉm Zveˉri (‘Animals’). latter The wascompiledinto ˉris Brinkmanisdirected aˉtraˉk, Minhauzen, aˉtraˉk! ˉdu pa kulšen, ˉ ˉze worked withpuppetsdesignedby Ma valds La e ˉ rzi 116 ˉ ˉcis (b. 1 July 1974), Riga, and Ma n¸ ˉcijas Briga valds La illustrating thethreshing process as š stoppeddirecting andhad becomea ˉcis created LedusPaveˉlnieks ˉde were thedominant ¸taˉrpin Chapter 3:Latvia ˉdu ¸š (‘Firefly’, 2003), ˉrzin¸š. Stiebraand ˉze (b. Ce ˉsis, 15 117 ˉns (b.

ˉns, a ˉnis 145 ˉris ˉris ˉns

Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 Bley, AskolsSaulı Vladimir Leshchiov, Jurģis Kra important partintheproduction process. Janno Põldma,Rijaprovided theservicesandalsotookan etville’, 2006)by and theEstoniandirectorsHeikiErnits For thefeature LotenoIzgudrotaˉjciema (‘Lottefrom Gadg- the French-Canadian feature directed by Sylvain Chomet. (‘LesTriplettes Belleville deBelleville’, 2003), TripletsThe of studio well-deserved attention. ten times its expected box office incomeand brought the French Itmade companiesTiramisuandLesArmateurs. (‘Kirikou et la Sorcière’, Michel Ocelot, 1998), with the film studio. collaboration and the Sorceress Its first wasKirikou vals, andscreen timeontelevision andincinemas. distribution,emphasis wasputoninternational filmfesti- coproductions. wouldThese includeinternational Much where animatorscouldwork onseveral projects at atime. and Latvian children asthetarget audience. Latvian artists, writers, andcomposers; involvement of 146 tional recognition. made theirfilmsthere- andbrought thestudiointerna projects. and many animatorsmove between studiosondifferent otherstudioshaveever, appeared aswell thenamesof important animation producers in Latvia. Gradually, how - Telefons (‘Telephone’, 2005)are allpungentfilms for adults. children, tor, his films. animator, cameraman, and editor for most of Annely Poldsaar). However, hewasthescriptwriter, direc- (Ilzetors Emse, Vita Valdmane, andtheEstonianartist ies inahyperbolic manner. Occasionally Nilsinvited sculp- bulge theircheeks, slickdown theirears, or move theirbod- characters were very emotionalandhe used his abilities to (‘Spring’, 2001). the brandnameNilsons. Hisfirst work there wasPavasaris Podnieks FilmStudioandstartedtocreate filmsunder he couldexpress hisartisticintentions. Hewent toJuris and soondecidedtoleave thestudiofor aspacewhere from wooden bricks. However, hesoughtnewchallenges Klucaˉnija (literally, ‘Brickland’,untranslated inmostcases) different materials andstorylines. In2000, hecreated dolls at Anima Moreover, Rijahelpedlocaldirectors. SigneBaumane, Rija’s animatorslater worked ontheOscar-nominated known LatvianRija becamethebestinternationally Vilnis wantedaproducer-organized Kalnaellis studio, Dauka, Anima Nils Skapa lhuhtemjrt fhisfilms were addressed to Although themajorityof figuresThe inhis works were mostlyfrom Plasticine. His

Chapter 3:Latvia Klucaˉnija (2000),Diversija (‘Diversion’, 2001),and ˉns, despitehissuccesswithMa ˉcijas Briga ˉtis, Ru ˉcijas Briga ˉta Mežavilka, have andothers all ˉde, wanted to experiment with ˉde, andRijaare themost ˉsons, Reinis Kalnaellis, Aija ˉris Putnin¸š’ (‘Insomnia’,2004), asuperbexerciseBezmiegs insurreal animated placesbecomehighlybelievable. ships between thecharacters andtheirenvironment, his background characters andcarefully creating therelation- he isgoingtouse. Heisvery attentive todetail;by adding working with thescript,healready knows what material thematerials. thefilmthat While determines nation of gouache, andwatercolours. Hemaintainsitistheinto - ferent technique – lead pencil, oil ink, colour pencils, moments anditbrought Leshchiov various festival awards. latter is a peaceful, touching about an old man’s story last 2002) andVecteˉva Medus(‘Grandad’s Honey’, 2002). The in Eksjö, Sweden.films Hisfirst were Veˉstule Letter’, (‘The Arts, CraftsandDesign at Konstfack University Collegeof working inadvertising in1991.Hewent tostudy animation and advertisements. and very boldmetaphors. She playstales, withfairy fables, be expressed withbestialfigures; shefreely uses hyperbole characters andimages. People’s emotionsorstates may 2009, itwasnominated forGoldenBearat The Berlinale. humour. women’s In experience, withadoseof feelings of latterillustratesThe filmagain thesubjective, intimate US, shedirected Dentist(2005),followed by Birth (2009). In the tenderness. erinarian’), an award-winning of story toLatvia,On hernext shemadeVeterinaˉraˉrsts return (‘Vet- passions. she expresses how awoman lives inherworld of (‘Woman’),Sieviete madeintheRijastudio. Inthisstory, mane’s films were appreciated worldwide. ciated withchildren’s entertainment.Nevertheless, Bau- liberty, especiallyinanimated filmsstillasso- this typeof treated withcircumspection by aLatvian public unused to provocative sexual themesandimages. they Atfirst, were Josh themhave Rechnitz Fucking –andFive Fables). Allof One, Threatened herown filmsinNew , Yorkeral of asStory well (Love in BillPlympton’s filmstudio. However, shemadesev- tales. fairy of Shoes’, 1993),aspoof sequently, toDaukamakeKurpıˉtes shereturned (‘Tiny herown. Sub- children’s booksandpublished abookof shespenttwoThen years inMoscow, where sheillustrated film, animator at Daukafrom short 1989.Shemadeherfirst in philosophy at Moscow University andworked asan The first film that first LeshchiovThe madein Latvia was VladimirLeshchiov’s filmsiscreated inadif- Each of Vladimir Leshchiov (b. Daugavpils, 10March 1970) began Signe Baumane’s filmshave aninteresting systemof to Latvia tocreateIn 2002,SigneBaumanereturned In 1995,shemoved toNewYork andstartedworking Signe Baumane (b. Auce, 7 August 1964) graduated 1964)graduated Signe Baumane(b. Auce, 7August , in1991for Witch theseriesTrifles and theCow The . Natasha –created inclosecollaboration with The The Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 119 118 keviciute’s Sezamaiatsiverk; andmany others. ing animators;Antanas Janauskas’ Animaciniyfilmy studija AJ; Algirdas Selenis and Aurika Seleniene’s Animacijosstudija; Nijole Valad- the Eastern wind. the Eastern passionsbetween aWestern woman and of 2010) –astory 1981); they unVeˉjš alsomadeSieviete (‘Woman andWind’, 2005). Itwascreated withartistPatrı Doctor D’, tion, the erotic Doktora Island of D sala (‘The herworks wasawholly fresh lookat anima- Another of Latviangraphics.the first animation using computer the dizzinessfrom alcohol. consciousnessare used–thepassionsfrom emotions, of events. To shifttheactiontoanotherlevel, different states films play withsubjective viewsandthe restructuring of ably from commonsituations andconflicts. Rather, his and many festival prizes. international the LielaisKristapsfor BestLatvian Animated Film2009 fishermen. old hand, wassurrealandmelancholy, of tellingthestory comedy. 0Jl 1967) created Eža kažocin 20 July dren’s film,Lupatin Lielais Kristapsawards. Jansons alsomadeabland chil - nominations at the2007 received thegreatest number of about suburban kidsintheearly twentieththat century Vaˉrnuielaˉ (‘SpringtimeonVa Latviananimation., thefirst documentary PavasarisDiary 2005). (‘Scissorman’, Tea’, 1999),Baltaˉ WhiteOne’,2001),andŠk (‘The (‘Haiku’) in1995.InDauka, he madeZvaigžn and in fiction films.first animated His film was editing, anddirecting; healsoworked ondocumentaries Dauka. His artisticcareer includes animating, filming, latterThe wasshown at theCannesfilmfestival in2010. Box’, 2006) and Norıˉt (‘To Krupi Swallow a Toad’, 2010). Rūu Rıˉga National jaugatava?(‘The Hero’, 2001,directed by Rubinstein’, 1999, directed by Askolds Saulı & such animated filmsasKlaˉra unRubinšteins(‘Clara fordesigners live-action filminLatvia. Healsodesigned theleadingproduction he established a career asoneof Arts as a painter.from However, the Latvian Academy of By Valentas AškinisandCinziaBottini. oeeape nld:teVlnm tdoo ValentasSome examples include:the Vilanima AškinisandAntanasAbromaitis, studioof which alsohelpedproduce works by emerg- Jur actioninLeshchiov’sThe filmsdoesn’t develop predict- The documentary filmdirector documentary AijaBleyThe (b. Liepaja, At StudioCentrumsin2007,hedirected LittleBird’s Edmunds Jansons (b. Saldus, 10May, at 1972)began ˉ ta Mežavilka), and he directed Melnaˉ Black Kaste (‘The ģis Kra Zuduši sniegaˉ (‘LostinSnow’, 2007),ontheother Spaˉrni unairi(‘Wings 2009)received andOars’, ˉsons (b. Tukums, 14February 1970) graduated ¸i (‘Shammies’,2010). rnu Street’) wasamusicalˉrnu tale (‘The Pricky’, 2005), ¸š (‘The ˉcija Brekte (b. Riga, ¸u teˉja (‘Starry ˉtis) and Vai ¸eˉrgriezis Haikas

studios. in1990,someartistsfoundedpendent again theirown artists, andcartoonists. becameinde- Afterthecountry architects, designers, graphic emerged from theranksof In the1980sand1990s, many Lithuanian animators Lithuania Šiugždait˙ feature animation, Odise˙ja (‘Odyssey’, 1998),withJolanta as director andproducer, Lithuanian alsomadethefirst series, Boa Jake’, Lithuanian animated 1993),andthefirst TV produced founded private thefirst animation studio Vilanima and seeking atechnique topreserve hishatched drawing style. on thescriptwithRussian director VladimirI.Parker, by the Lithuanian writer Vytaute Zilinskaite. Aškinis worked tale aCactus’isbasedonfairy Secretfilm, 1989).‘The of jointly produced by theLithuanianFilmStudioandMos- aCactus’, Secretthe animated(‘The of film Kaktusopaslaptis commissionedbySleep’), Lithuanian TV. Shealsomade created the drawn television lullaby De˙de˙ (‘Uncle Miegas reductionized, inproduction. leadingto a gradual Festival inNewYork. sameyear,2008. The italsowon at theMachinima Film in the Next Generation Machinima Contest in California, Machinima. technology It won prizegame him the jury madeKu ber 1962) Velna Fudži(‘Devil’s Fuji’,2010). (‘Trophy’, 2004),Mehaˉnisms Mechanism’, (‘The 2007),and as wellandphotos. asposters HisotherfilmsincludeTrofeja diverse materials inhisfilms– own andotherpaintings, attention asartworks ontheirown. to beseenwiththepaintingsandhave attracted more ated for hisexhibitions. However, they are notjustmeant Fetish’, (‘Eclipse’,2010)were 2006)andAptumsums cre - of films tosupplementhispaintings. Fetišu daˉrzs Garden (‘The Ka In 1991,togetherwithAntanasAbromaitis, Aškinis In 1986,thedirector Valentas Aškinis(b. Šiauliai,1959) Graphic designerEgilsMednis(b. 13Novem Riga, - Vı ˉtols worked incomputerized collagetechniques, using ˉrlis Vı Normano arka (‘Norman’s Ark’,Normano 1991–1995).Aškinis, 119 e. In2004,theLithuanianFilmStudiowasprivat- Trovas (1992),Smaugliukas Džeikas Little (‘The ˉtols (b. 21March, Riga, 1979)madeanimated 118 (‘The Ship’,2007)inthecomputer-ģis (‘The Chapter 3:Lithuania

147 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 (‘The Soloist’,2002). (‘The Svajoniu˛ Dreams’, 2001),andSoliste˙ Tower bokštas(‘The of films aboutasnail:Sraige˙ SnailNellie’,2000), Maiva(‘The Braške˙s ant egle˙s (‘Strawberries on a Fir’, 1999), and three ses’), which tookhersixyears tomake. Later, shecreated and impressive film for adults, Metamorfoze˙s- (‘Metamorpho books. comic hisfilmsis reminiscent of styleof 1997). The (‘Winter, Winter’, 1995),andAeroplanas (‘Aeroplane’, kaip žmone˙s Birds (‘The asthePeople’, 1994),Žiema,žiema Moles’,1991),Ikarasmiai (‘The (‘Icarus’,1992),Paukšcˇiai (b. 1991),Kur- Lumberjack’, 1951)madeMedkirtys(‘The 148 122 121 120 elcstae f matriarchy.’reflects tracesof taleisarchaic fairy all mankind.This becauseitstrongly talk onlyaboutSamogitians, but alsoabouttheoriginof .]Itdoesnot . bygoneanian myth concerning times[. esting becauseitconnectstheOldTestament withLithu- their land. Algirdas tale is inter Selenis says: fairy ‘This 2006), andothers. (‘LithuanianMythologicalDeities’,mitologiniai dievai Žemaicˇiu˛ pramote˙ (‘SamogitianGenesis’,2002),Lietuviu˛ tales: They madea cycle from Lithuanianfables andfairy cˇigonas GipsyandtheDragon’, irdrakonas(‘The 2006). films: Aurika Selenis(b. 1967)created playful, paradoxical Bees’,1999). Herdpiemuo (‘The of Lape˙ ir vynuoge˙s Fox (‘The and the Grapes’, 1996), and tales:Gudridukte˙anian fairy Clever (‘The Daughter’,1995), herfilms arebasedonLithu- textiles, andflowers. Mostof Among her materials, she used appliqués, ceramic dolls, photography. Margucˇiu˛ 2007),fusingdrawings (‘EasterEggs’, and rytas Daughter-in-Lawjos (‘The from aBarn’, 2006);and feasts andtraditions;theblack-and-white Martiišjau- Užgave˙ne˙s (‘Mardi Gras’, 2005),basedonLithuanian štrichai, Leikait˙ Fern’s(‘The Blossom’,2003).AtthestudioFilmu˛ By AntoninaKarpilova. In 2009,thefilm won theGolden Panda award for beststudentfilm attheSichuan TV Festival inChina. ‘Anifest Catalogue’, Teplice, Czech Republic, 2010. A newstagestartedwithherfilmPaparcˇio žiedas Ju At theLithuanianFilmStudio, HenrikasVaigauskas Smgta eei’i h tr f rb nsac f atribeinsearch of of ‘Samogitian Genesis’isthestory Husband andwifeAlgirdas Selenis(b. 1956)and Ieva Bunokait˙

ˉ rat Chapter 3:Belarus Vilniaus mergele˙ Maidenfrom (‘The Vilnius’, 2000), Arkliavagio gudrybe˙Arkliavagio Rustler’s (‘The Trick’, 1998)and ˙ e Leikait˙ e (b. 1963)debuted in1996withastriking e created filmswithmixed techniques: e alsoworked inmixed techniques. 120 Bicˇiu˛ -

In thesameyear, Iava Miškinytı in which sounds, improvised, seemingly are dominant. ship andbetrayal. Kostas Kubilinskas. It is about a fox and a wolf, and friend- 2007, basedonarhyming taleby fairy theLithuanianpoet the authorandexpressing histhoughts. character passesfrom onefilmtoanother, impersonating and (‘Plaudits’, 1998),Telegastrovizija (‘Telegastrovision’, 2000), example, usedordinarycandles for theprotagonists. by Vitaly 1989),for Bakunovich. Burn,’ Gori,gori(‘Burn, TVS-Validiya madecut-outandobjectanimation films 1947)founded Studiya-3.private The TVstudio July Chikina(b. 1947)andOlga Minsk, 26 sia, 13October cinema. school of and AleksandrBychkovsky hadallstudiedat theMoscow 1952),AleksandrShepetov,dlovsk, Russia, 20 October December 1956), VladimirPetkevich (b. Tavda, nearSver Minsk, 18February 1963), Vitaly Bakunovich (b. Minsk,1 evich (seeVol. 2), such directorsasMikhailTumelya (b. influence. InadditiontoIgor Volchek andElena Petk- animation studio Belarusfilm, Russia stillhadastrong arrived in1991.However,Independence at thenational Belarus Stanley Kubrick. StarWars , Andrei Tarkovsky,showing theinfluences of and drifting rotating objects, film isintended for lovers of experimental animation.1985), represents The modern animated film. wonDiary’) theLithuanianSilver CraneAward for best atre. In2009, Skucˇas’s Vaikyste˙s dienoraštis (‘Childhood using ablack and white technique imitating shadow the- –cˇárywitch inRagana cˇarode miniature. Bridge’), a black(‘The and white film inspired Kafka by a Danas Bereznickas (b. 1976)madeLala(id.),in2007, Rasa Jonikaite (b. 1984) directed At hisstudioAJ, AntanasJanauskas madeOvacijos Leonid Shukalyukov (b. Komsomolsk-na-Amure, Rus- Synchronization (id.,2009),by RimasSakalauskas(b. Antanas Skucˇas a (b. 1983)focused onthefunctionsof Trumpas sujungimas(‘ShortCircuit’, same 2003).The 122 (‘Ragana –Witch’sˇjnice (‘Ragana Magic’), ˉ (b. 1981)created Most (‘The Tail’)Ocas (‘The in 121 -

Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 Magic Pipe’, 1998). vitch, directed the puppet feature adnoe, from apoemby SashaCherny, Svyatochnie rasskazi (‘ChristmasTales’, two films–Koly 1987), the cut-outtechnique asbestsuitedtoherinspiration. nine shortfilmsthat tookadecadetocomplete. She chose (‘Christmas Tales’) ishermostambitiouswork, acycle of special attentionaccuracy. toliterary Svyatochnie rasskazi this approach. Herphilologicalstudiesledher topay and filmswithChristianissuesbecamecommon. Belarusiancivilization, Christian values are at theheartof mild humour, andcuriositytowards different cultures. too–optimism, objects. localmentalitywasdepicted, The through such elementsaslanguage, music, clothes, and the newfilms, however, national principlesbecamevisible theirworld andreferred toRussian culture.centre of In often metaphorically. (id., 1998).Hisfilmsdealwithinnerlifeandmemories, (id.,1988),Skertcho(‘Scherzo’,certo grosso 1994),andPastoral hisfilmsare basedon music – for example, Con- many of he cared asmuch for the sound asfor the images, and director andsoundtrackcomposer. Educated asapianist, and won many awards festivals, at international bothas auteurfilmstothecountry tion. Hebrought theideaof Belarusian anima- independent twentyin thefirst of years Belarusfilm duringthe1990sandhasbeenkey figure festivals.international Ossets, received awards at various Caucasia peopleof dexterity many times, Agundachooses theshepherdasherhusband. magic pipe) and the young Soslan both love warrior the beautiful Agunda. After the two friends and rivals demonstrate their heroism and feature Caucasus. from young isbasedon atraditionalstory The thenorthern shepherdAtzamaz (whom thegodshave blessed witha 124 123 on painting on glass andsandonglass, areon paintingglass Sny(‘Dreams’, deal withChristianissues. Among theirworks, oftenbased Godiva’s Legend’,2004). (‘Lady olediGodive (‘Sister and Brother’, 2002),andLegenda o Rozdestve ChristmasParable’, (‘The Sestra 2000), ibrat (‘A Wonderful DinneronChristmasEve’, 1999),Tritcha Girl’, from 1996),Udivitelnyuzhnyvsotchelnik Andersen, LittleMatchBlizzard’, sospitchkamy(‘The 1994),Devotchka e aeo Aleksandr M. Glickberg (1880–1932). Pen nameof hsfauefl hudntb ofsdwt h hr fthesamenamedirectedKazakhstan in byZhakenDanenov The in1973. featureThis filmshouldnot beconfusedwiththeshortof Mikhail Tumelya, Surino- alongwithdesignerDmitry The titlesareThe Pritcha GasanParable’, oGasane (‘The Irina Kodyukova exemplifies (b. Minsk,25July 1954) For alongtime, Belarusiansconsidered Moscow the theanimation branchIgor Volchek at wastheheadof Vladimir Petkevich andhiswifeElenaPetkevich also Notchnyu v teatre (‘To the Theatre at Night’, 1989), 123 The film, The whichglorified theancient Volshebnaya svirel (‘The 124 , ‘The andMetel,‘The - rgno tecaso am fBelarusian cities. of arms thecoats of origin of Bygone Years’, Novel(‘The 2006–2008),explaining the of named afterhim.Volchek alsodirected Povest minuvshikhlet revived Nesterka, theBelarusian Robin Hood,inaseries was madeby AleksandrLenkin.In2004IgorVolchek Reactivenok (‘The sixmoreseriesfollowed), Piglet’; Piglet Intrepid, theGloriousDragon’s Hunter’,1991). Wolfgang the dostoslavnom istrebiteleSongof drakonov(‘The theMiddleAges, Pe parody of (‘About theFearless Knight’,1991);and MikhailTumelya’s Turovaya’s neboyalsya musical nitchego kotoriy Pro pitcharya, such asFantaziy Sidorova (‘Sidorov’s Fantasies’, 1991);Elena Mogilev, 26February 1965). Musician-Magician’,(‘The 2001) by ElenaTurovaya (b. Lenkin (b. Minsk,16January 1961); andMuzikant-tcharodey Hollow, Some Dances, Four Ropes’, 2002)by Aleksandr 1996); Tchego neb’ibaet(‘NothingintheWorld nasvete IsMissing’, featuring water spirits, witches, and so on. They include: and marionettetheatre, remained theprincipalgenre, (‘Afilm, Pesenka kanareyky dlya Songfor2002). theCanary’, kevich madethefirst well-received computeranimated puppet animation, coloured sand,andsoon.ElenaPet- on drawn animation, puppetanimation, two-dimensional theBelarusianfilms were based highly praised.Mostof October 1956), andNatalya Kostyuchenko. Tatyana Kublitskaya (b. Khachinka, Mogilev region, 12 Matyushevskaya (b. Baku,Azerbaijan, 23December 1950), 1949),theexcellent colouristAlla Russia, 12February 1953),AleksandrVereshchagin (b. Arkhalgelsk, 31 July Surinovich (b. Vishenka, nearKirovsky, Mogilev region, Minsk, 20January 1997). Later, thebestartistswere Dmitry Tarasov (Rostov-Yaroslavsky, 1938– Russia, 17October inspired by bookillustrations, for instanceby Vyacheslav theOldPiano:Beethoven’, 2007). of Tree 1996)andSkazkistarogo pianino. (‘Tales Betkhoven . . .’, Tales’, . . 1996),Zhilo-biloderevo 1992), In 1994, the first Belarusian TV series,In 1994, the first Also popularwere Tatyana Zhitkovskaya’s comedies, Folkloric tales, fairy based on popular Even inthecomputerera,manual techniques were Belarusiananimation wasoriginally drawingThe styleof Terem-teremok (id.,1998);Yama, tanch (‘A tchetire struni Mesyatch Month’, 1993), Skazki lesa (‘Forest (‘The sn oVolfgange neustrashimom, . (‘OnceuponaTime Chapter 3:Belarus lubok illustrations Reaktivniy porose-

149 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 h nmto eateto thePolish National Film the animationof department the puppet specialist Skrobecki from graduated ber 1951, - Kalisz on18Septem Marek in Skrobecki tookoff.Born problems andcheap seriesfor children, thecareer of semiabstract cinema. a condorfeather (!),makethesefilmsaparadigmof (called Lithuania/Poland, 2008). puppetanimation withLadislasStarewitch (Vabzdziu dresuotojasBugTrainer’,of , ‘The along withDonatas Ulvydas and LinasAugutis, nique, basedoncoloured saltgrains, inspired by Georges Bizet’s work. Heroriginaltech - Korejwo (b. Poznan Torero(1995) andCarmen by AleksandraKorejwo (1996). by HieronimMagritte NeumannandMaciejc´wiek entertainment, andeducational series. evision, which wasinterested inchildren’s films, cheap was basicallyonlyoneotherpotentialpartner:Polish Tel- thebudget. There that theagency assured onlyapartof companies sprangup, but mostdiedwhen itwasrealized improvised toapplyforneurs government grants.of A lot establishing astate agencythat enabled private entrepre- state filmproduction by Poland reacted totheendof distribution, care, andrestoration. the past were leftinwarehouses, waiting for filmsof The ing teaching newgenerations who mightnever findjobs. ing titlesfor TV, orcommercials. Professionals madealiv- regime hadgiven them.Production wasreduced toopen- what the tosavedecade afteritsfalltrying somethingof courageously opposedtheCommunist regime spentthe Since destiny isderisive, theartistswho hadopenlyand Poland 150 129 128 127 126 125 with ‘eekhthys’, withtheaccentonlastsyllable). rusian Proverbs’, 2008). Blue Danube’, 1993). thelittlesandcrystals. Korejwo mademany otherfilms, including thedecorative Nadpie˛knymliance of characterized by geometricandfloralmotifs. paper wasinvented. InBelarus, whenpaper-making thevytinankastartedinsixteenthcentury first shopappeared.Thevytinankais By GiannalbertoBendazzi. This method is basically the same as the sand or powder animation already utilized by others, with the addition of the graceful bril- thegraceful methodisbasicallythesameassand orpowderThis animation already utilized by others, withtheaddition of Skrobecki wasalsoproduction designeronSuzie Templeton’s Peter andtheWolf (2006)andcodirected onthepioneer adocumentary The The In early theChristwasfish(theGreek Christianity, word ΙΧΘΥΣ, transliterated Ichtys, waspronounced thesecret symbolof At theŁódz´ Film StudioSemafor, amidinnumerable Mikhail Tumelya utilized acomputercut-outtechnique Within thelatter category, there were somejewels: USSR‘satellite’ countries, theformer Like mostof

Chapter 3:Poland Carmen Suite (1994) and Carmen i noewr atr uoto white, black, or coloured paper.vytinanka is an openwork cutout of pattern It is an age-old craft activity, dating back to when vytinanka) 126 125 (‘Bela- pogovorky for hisseriesBelorusskie ˊ , 14 June 1958) followed, 14June 1958) thelatter Carmen Habanera (1995), Carmen 127 animated with similar name:Se-Ma-For FilmProduction. superlative, asis Michał Lorenc’s musical accompaniment. it’s direction theirendandtheend.The lightingare time tothewindowsill. Whenthebird doesn’t reappear, they feedalittlebirdtenderness: that comesfrom timeto justification lifehasasingle and meaningless ment. Their acouplesecludedinanapart- explores therelationship of ered. Animating human-size puppets, inD.I.M. Skrobecki festivals, that wasrediscov thisprevious little masterpiece - teen years later, when Ichtys waspresented at international specialists paiddueattention tothefilm.Itwasonlythir ture ShopandAardman Animation (1992). British Councilthat brought himtoJimHenson’s Crea- School inŁódz´ ascholarship from the in1990.Heearned mato apowerful andatruepoet. personality impact of century, inhabitedby blind, mindlessfools), but alsothe thetwentieth (maybeple interpretations it’s of thestory we Times (1936). Again, haveModern symbols and multi- in hand,asceneresembling oneinCharlie Chaplin’s the headlessyoung manandgirl walktothefuture hand and chops hisheadoff.Asaplanehitstwo skyscrapers, whaters hersuitor is. young The mangoestoaguillotine falls inlove withagirl, who fleeshorrifiedwhenshediscov- beheaded people(for instance, man blindness), a‘normal’ inhabited by headless, blind people, ruledby thelogicof Christianreligious fragmentsandnot asart. as apuzzleof ries anddouble-meanings that theviewer eventually seesit tragic, andironic by However, turns. allego- itissofullof dead.Ichtyspears, theclientisseemingly visuallyoriginal, by andeverything ages. Whentheever-young waiterreap- building. waitertakeshisorder The andleaves. Timegoes which resembles asacred is inarestaurant, theinteriorof ably toorich, andwaswelcomed internationally. A man Skrobecki’s In 1999theSemafor Studiowasrelaunched undera When hemadeD.I.M. (id.)in1992,fewspectatorsor In 2010Skrobecki (id).Inatown madeDannyBoy Ichtys (id.,2005) (‘The Beautiful Dunajem(‘The modrym 128 wasmuch richer, prob- 129 - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 were alsoself-taughtpeoplewho absorbedthe classic Polish hermasterJerzy Kucia. There notthestyle, of standpoint, if showed inRefreny (‘Refrains’, 2007)that shehadabsorbedthe 2002) andZoopraxiscope (id.,2005)deserve mention. research. AmongNeumann’s later films, RemoteControl (id., 1982) owes somethingtoZbigniewRybczyn arts. Hisexcellent Blok(‘Prefabricated HousingBuilding’, continued dividing histimebetween filmmakingandfine talist in1977withWyliczanka (‘Counting-OutRhyme’) and as an animator/experimen He began - November 1948). previously mentionedHieronim Neumann(b. Poznan the older filmmakers were still active, among them the of from thefilmmakers theoldergeneration. Many pupils of theyounger Polish animatorshadbeen lennium. Many of mental film, re-editing found footage. he enjoyed, Kozak abandonedpure animation for experi- design.Despitetheacclaim on illustration andgraphic andimpressionsusing suggestions anddrawing heavily avery highquality,He madenonnarrative cinemaof obsessions, sexuality, homoeroticism, andthegrotesque. a Gentleman’, were 2000). These films about Novel of professionalfirst filmwas627Romansdz˙entelmena (‘627th and dent, Kozak burleska (‘BlackBurlesque’, madeCzarna 1997) also appeared onthescenein1990s. Whilestillastu- Figure 3.21 il oa(.Gizo 3My 1972),for example, Wiola Sowa (b. Gniezno, 13May PolishThe approach tofilmanimation survived themil- Tomasz (Tomek) Kozak (b. Lublin, 7September 1971) (TeWr fSalvation’,Opera Work 1998).His ocalenia(‘The of

Hieronim Neumann. ˊski’s artistic ˊ, 14 lywood andworked for thebiganimation studios. in Berlin andanaward at Annecy. hewent Then toHol- awards for Maski(‘Masks’, 1998), including a Golden Bear and audiences, production, andcriticalcoverage grew. sounds. newway The marched alongsidewiththeoldone, images and There wasanewgeneralized consciousnessof madefilmmaking digital imagery cheap andaffordable. to know about themselves andpossibly theiriPods. New concentration camps, pessimism,andfate. They wanted they wanttoknow, storiesaboutCommunists, Nazis, the newmillennium.Young peopledidn’t know, nordid based onsimplelineardrawings. sarcastic andtender. style They employ asurreal,hermetic Niestety, ‘Unfortunately’, 2004;andKiziMizi,id.,2007)are Ws Szop, Szope˛ . . manontroppo, id.,1998;Szop,animated films(Allegro Szop, years, aweekly culturalprogram onPolish Television. His music videosfor many topmusical performers. themostinteresting newbooks. Healsomade themes of supplements for books, which visuallyexpressed themain late 1990s, he created about two hundred ‘book-clips’,video He startedoutin1985withpaintingsandgraphics. Inthe Hewasaprolific,Łódz, 29April 1964). multitalented artist. atmosphere by themselves, such asMariuszWilczyn I h tlns fthe Night’, 2000; ´ród nocnej ciszy, ‘In the Stillness of Piotr Karwas (b.Piotr Karwas Łódz´, 11January 1974) won numerous A secondPolish approach tofilmanimationin began heco-hostedAfterHoursFrom for many March 2005, ., ‘Chop, Chop, Chop, Chopin . . .’, 1999; ., ‘Chop, Chop, Chop, Chopin. . .’, Chapter 3:Poland ˊ ski (b.

151 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 with clay animation. Berlin FilmFestival. filmcombinesspatial The techniques wasawarded theSilver Bearat the lin, 6October 1974) herduties. housewife who fights themonotony of a thelifeof 1968)presents avividtaleof 5 December her Americanadvertising anditsclichés. In 2007), asatire of made thecut-outAmerykan Gentle Spirit’,‘A GentleCreature’, and‘A GentleMaiden’. support directorial débuts. isto animation. A priority production andpromotion of develop special operating programmes tohelpwiththe itstaskshasbeento in2006,oneof Since itsinception was passed, establishing the Polish Film Institute (PISF). 30June 2005 boosted when theCinematography Actof side more traditionaldirectors. Interest inanimation was to thenew, mindedgeneration globally growing upalong- hidden justunderthesurface. between animated filmanddreams, meanings pursuing (shot framing, panoramas).Siwin connecting paint animation directly with film narrative 1982)madeasuperb piece, (b. Koszalin, 4November 152 131 130 Figure 3.22 Giannalberto BendazzithanksWiola Sowa andMariuszFrukacz for theirhelp. Fedor Dostoevsky wrote ‘Krotkaya’ the short story title was variously Gentle Woman’, in1876. The translated as‘The into English ‘A Jakub Wron With hisfilmTelewizor (‘TV-set’, 2005), Tomasz Siwin For These filmsareThese not recognizably ‘Polish’.They belong

Dokumanimo (id.,2007),Małgorzata Bosek(b. Warsaw, Chapter 3:Poland Jam Session (id., 2005), Izabela Plucin

Hieronim Neumann,Blok,1982. k b asaa 2Spebr 1982) ˊski (b. Warszawa, 12 September 130 ´ski Sen(‘American Dream’, ˊski makesastrong link ˊska (b. Kosza- ˊski Gentle Woman’, from Dostoevsky, 1985); (‘The compassion, creating asŁagodna such masterpieces human to embraceanalmostgrievous atmosphere of was rooted inblack humour. Over theyears, hemoved Dumała’s career intheearly 1980s, when hisworld colour. and Dostoevsky call for chiaroscuro; Kafka mellow,extremely opaque thin,definedlinesandareas of oranimatedglass charcoal drawings onpaper, allows for frame. principle, The alittlelikeanimated paintingson board and erasing and changing the images frame after Dumała developed his technique, engraving a plaster amuseum. ‘Crime andPunishment’would beworthy of Franz rare beauty. Kafkaor Someframesof images of tional for somepicturesGentleWoman’), in‘The offered fromlithographs theseries‘HauntedHouse’were inspira- Edvard Munch andOdilonRedon (whose by theartof evsky, 2000). and parts live theirown lives at night);Franz Kafka(id.,1991); man whose a sleeping body of the Leg’, 1988,the story of 1987, astudy on claustrophobia); Wolno´ Piotr Dumała nVlm edsrbdtebgnig fPiotr In Volume 2 we described the beginnings of These works,These inspired by he referenced thewriters and Zbrodnia i kara (‘Crime and Punishment’, from Dosto - sc 131 ´ nogi(‘Freedom ´ sciany (‘Walls’, Franz - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 132 evsky films revolve around brown. Kafka boastsagorgeous black andwhite, w Figure 3.23 author’s –orcritics’expectations, anditwon fewprizes Dumała, e-mailmessage toGiannalbertoBendazzi,6August 2011.) cinema asarhythm, editing, dialogues.’ (Piotr texture, atmosphere.vision of Pure andleading filmlanguagewithout clearstory role of film creation by editing. Recently I watched Auhasard Balthazar by Robert Bresson and thedirector’s commentary. withhis I totally agree (an) abstract, experimental story. Beinspired comingfrom byanother story themusic, [. . .] music sortof withoutany plan. It waspure well. So, itwasonlymy private exercise. For not happy meitwasimportantbecauseI was newversion is withCrimeandPunishment . The C Minor by Shostakovich. Dmitry author writes: ‘Formally The the film does not exist. I have no rights for the music and the picture as i e eso fthefilm,made by DumałaandeditorBeata WalentowskaString QuartetNo. 8 usingthe isanewversionmusic StringQuartetNo. 8 of in At first, ‘CrimeandPunishment’ At first,

Piotr Dumała. 132 didn’t fulfillits hile theDosto- kammerspiel-like masterpiece, whichkammerspiel-like conveyed much that the filmmighthave itsflaws, itwasaninspired, slow, thatmon filmgoers made them realize that, though thecom- festivals.at international Itwastheacclaimof Chapter 3:Poland

153

Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 shapes. a fiddle, smalldomesticobjects, flashes, semiabstract partments, flutteringbirds, insects, peasants’tools, apples, hunched menwalking, facesshadowed by caps, train com- in their entirety. Some visual elements constantly return: tered over almostthirtyyears, which fewpeople couldsee shortfilmsscat - a large, detailed,consistentpoemmadeof works.single Rather, he devoted his career to constructing tion hedeserved, probably becausehenever focused on little incommon. 154 138 137 136 135 134 133 Return’)(‘The in1972. animatedmation makinghisfirst film,Powrót department, theani- Arts. Helater becameaprofessor andheadof Fine artistat theKrakowpainter andgraphic Academy of Jerzy Kucia (b. Soltysy, 14January 1942) waseducated asa Jerzy Kucia Figure 3.24 river Styx). action takesplaceinablackthatthedeath marsh depicts regard, especially for theuncommonvisualapproach (the day,violence. thiswriterholdsitinhigh Inthecoldlightof troversial on journeys, either horizontal (Powrót Return’,, ‘The 1972; stylization) andfragmentsare therule. never shines(it’s usuallydistortedby shadeorchromatic victory, anddefeat. was trueabouthumanhatred, love, self-imprisonment, Marcin Gizycki, ‘Jerzy Kucia: Between Reality andDream /Jerzy Kucia: entre lerêve etlaréalité’,Animafilm8(1981). From Jerzy Kucia’s typewrittenpages, undated, provided toGiannalbertoBendazziby theartist. Wcieniu(‘IntheShade’,1975). ontravels oftenwanders –for instance, inthesecondpartof cameraitself The To know more aboutthisgreat artist’s technique, seeMore AboutIt2. To know more aboutthisgreat artist,seeMore About It1. This filmlooks This very much likeDaniel Szczechura’s 1970Podróz˙ (‘Voyage’, thetwohave filmmakers 1970),but thepoetics andstyleof This outstandingdirectorThis seldomreceived theapprecia- nti ol fopaque images, theprotagonists setout In thisworld of

Chapter 3:Poland 135 We oftenseenightbefore morning. Daylight (‘Hippos’),aboutkillingandsexualHipopotamy

Piotr Dumała,Franz Kafka,1991. 133 In2014,Dumałareleased thecon- 134 fthereceiver’s experiences.’ internal of anindividualfilm,takingadvantage call thedeveloping of receive theminhis/herown way. Myaimiswhat I would sendsignalsandgive theviewer theopportunityto I life–ormaybetobefound. somethingdeeper taste of and sorrow, alltogether, makeaballadontheenigmaand ment, noteven adramatic crescendo. Adolescence, joy, withthe swinging girl.interspersed There is no overstate- motorbike ride, landscapes, apples, aroad accident–all colour, humanprofiles,there adoor, isaneruption of a theshade. Then agirl onaswing, cominginandoutof of the Shade’,1975),startsasadelicate black andwhite film truth withthem. truthandbuilds adifferently meaningful,ulterior bits of exploring theworld andendscreating aworld. Itpicksup objects withorwithoutsouls).Likeatruepoem,itstarts past) andconsciousness(timelapsing, peopleskirtingus, (human feelingslikesolitude, longingfor tenderness, time Like any odyssey, Kucia’s isbasicallyaquestfor knowledge aninsect. (‘Reflections’, 1979)shows thebirth anddeath of nanimous. Just for that, itismajestic. Onefilm,Refleksy derers, through restricted horizons, where nothingismag- inspiration isnotabstract. they were produced by someonewithsomething. Kucia’s an appletree. soundsmay The notmatch theactions, but things. tired Those menareapplesfellfrom men.Those be hazy, but thespectator feelsastrong connectionwith explains –theirundertaking. Everything onthescreen may rso fanimation’). Bresson of ascetic style(notby chance washecalled‘theRobert , ‘The Elevator’,cal (Winda,‘The 1974). , ‘Tuningjenie instrumentów theInstruments’,2000)orverti- , ‘Chips’,1984;Stro- 1976;Odpryski Barrier’, Szlaban, ‘The the annoying alarm clock. After some gymnastics inhis clock. After some gymnastics the annoying alarm see indetail)isstilldrowsy insearch andwanders of images are unclear. protagonist The (whom we willnever place inearly morning, when itisstillpitch dark. The Kucia says: ‘Makingafilm, I leave places for theviewer. Kucia’s thirdmasterpiece, Wcieniu(‘In film,andhisfirst negligiblewan- His poemisaninfinitesimalodyssey of However, they never reach aplacethat rewards –or l ftheseworks are characterized by analmost All of 138 ‘Tuning theInstruments’ takes 136 137 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 replaces black and white, and songs. domestic sounds piano music, a pizzicato violin, bitsof conductor’, Jerzy Kucia himself. Thereare shreds of the‘film aninstrument.Hisshapereminds usof carry tra member, andpossibly theconductor, sincehedoesn’t leaves. From hisclotheswehe’s understand anorches - parlour, the man takes a shower, puts on his tuxedo, and 1980). music. 140 139 Figure 3.25 of the person withwhom theperson we are travelling. of ries andimagination surfaceaswe starttoshare thesoul sunlight, explosions?Memo- There are flashes–beamsof disciplinedmenallthesame. all thesame, of amemory disciplinedtrunks soldiers, avision of become rows of trees that colours, rows lightgreen time we of seewarm trees appears. Now thesunhasrisenandfor thefirst of train station), theimagesare mostlyindefiniteuntila row there isacreaking. ling, plusapiano;violinanddouble bassjoin;eventually, feelings, memories, andimagination. We hearthecrack- will be travel, through and through the country the man’s sound belongingtothemusic. objective ones. motorcracklingis, The at thesametime, a Kucia is a master of black and white who sporadically chooses to make an original use of colours (as with the use of green inWiosna, green (aswiththeuseof colours black andwhite who sporadicallychooses tomake anoriginaluseof Kucia isamasterof (Prd’ 97.Tesudo therotating the director wheelThe hadalready triggers usedthisbeautiful stylisticprocess inParada (‘Parade’, soundof 1987).The Outdoors, themanstartshismotorcycle. Colour Except for somefigures (acar, peoplegoingtothe

Jerzy Kucia,, ‘Tuning Strojenie instrumentów theInstruments’,2000. 139 subjective shotsreplacethe 140 From thispointon,there on the right of the frame. The grating or grille isactually theframe. orgrille grating The on therightof water.ing birds that looklikewaves boy The reappears of of flutter and thendisappears. Hishat floats above aflock boy wearing anewspaperhatontheleft appears A little are two toy wheelhorses, orgrille, a grating adog’s head. walks.sciousness. Someobjectstakeshape. A duck There wintry. theleaves disappearandthelandscape becomes all of the birds fly away again; restpearing withthem. The of meadow.green birds The fly away, someleaves disap- different birds, stillsilhouettes.Theregreen are trees, a unexpectedly, thecamera pansrighttoreveal aflockof swallows, which suddenlyfly away inflocks. Almost of They arelooking likenotesinthepentagram. silhouettes main instrumentisatrumpet–anotheroxymoron. strings, butlike strings, the too. We hearsomesoundsof they them,asinapentagram; look near. Thereare five of ron. Telephone wires dance, spreading outanddrawing the pianoplays, aviolinappears, avisual/acousticoxymo - childhood. acountry While are These memoriesof again. them; thenajumpingcat, awooden toy horse, apples rmti on n h rvlbcmsasra fcon- From thispointon,thetravel becomesastream of thewires, Now we seebirds, perched inthemiddleof Apples and pears takeshape, andpears Apples thecamerarunningover Chapter 3:Poland

155 - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 no. 8 (1981). 156 142 141 An example canbefound inChips,afilmdominated by being no more than witnesses. ment, an awareness of estrange- said. Hisviewersexperience adolefulfeelingof problems, andI want toattract viewersemotionally,’ Kucia in1972?He probablylimping onthetrainplatform is. theyear 2000thesameperson questions. Istheconductorof are totunetheirinstruments, trying allhave unanswered ordinary otherlivingbeings, ordinarypeople, of this world of poetic. Kucia’s longquestfinishes where ithadstarted.Allin Return’ (1972),onlyitismuch more skilled,profound, and ‘The ‘Tuning theInstruments’ (2000)follows thetemplate of leaves tomeet hisday is a guidingthread inKucia’s work. secrets. why thefilmissofullof gestions and stimuli through our two senses; that’s primary must fill,andsounddoesthesamein return. We getsug- leavefeeling that images purposely aspacethat sound is asynestheticfilmpar excellence.The viewer hasthe lengthening themwhen needed).‘Tuning theInstruments’ ordinate somescenestoChrapaczkow’s score (especially paczkow, suggestions, anddidn’t accepted hesitate tosub- the ears. Heworked closelywithcomposerWadim Chra- theireyes wasmostimportant. happened infront of stagedirectors, forvisual artistsorformer whom what between sound and image, colourandmusic. Mostwere tion andlive-action) have withtherelationship struggled (bothanima- dinarily poetic.Many inhistory filmmakers images, would befruitless. It’s theirblend that isextraor without soundtrack,orlisteningtoitssoundtrack always combinedsightandhearing. Viewing itsimages anartthat has summa –andpossibly thesummit–of couldn’t frameaway takeasingle andhangitonawall. from theirmovement. iscinema,notfineart; This you imagesarebeautifulandyetThe stunningly inseparable combine witheach otherandproduce more meanings. sink, amazed,itssecrets, intoitsdepth, itsdetails. They films ever made. Onecanviewitathousandtimesandstill per hat, slidinglikeanewspaperboat over stillwater. black, and the lastimage is the newspa- frame turns The break loosefromabout. Apples theground andgohigh. a chair (atrompe l’oeil).Inthewhite frameabird flutters By GiannalbertoBendazzi andTommaso Iannini. Alina Terechowicz, One’s LifetoMakeOneFilm/Chaquefilm demandeunmorceau demavie’,Animafilm ‘ItTakes QuiteaBitof ‘I’ve always displayed anemotionalattitude toward common man whoThe and gets up in the early morning theeyes andtheartof Kucia valued boththe art of At thesame time, ‘Tuning theInstruments’is thebestanimated ‘Tuning theInstruments’isoneof

Chapter 3:Czech Republic - lems.’ on life, althoughthey seemtorefer toinsignificantprob- my films canbe my notes own personal sion, ‘and some of and memoriesemerge sporadically. simplehouseholdactivities darkness from which images of fWerich’s stories. Czechof The public acclaimeditnoless. Kubícˇek andAurel Klimt. Pospíšilová and Aurel Klimt, with a screenplay by Jirˇí when henarratedhisstories. Itwasdirected by Vlasta name, usingtheauthor’s own recordings from the 1960s, thesame in theCzech Republic. Itwasbasedonabookof was the most successful animated feature film in the 2000s situation. less. Ittookmore thanadecadetoredress theproduction thebestfilmmakers were job- moneymaking, many of away. pure Unable orunwilling to kneeltherulesof drawings, anddocumentswere scattered or simplythrown soldtoprivatehurriedly citizens; oldfilmprints, puppets, was treated. State-owned production companieswere separate anddemocratic ways. Slovakia peacefully splitandwent their the Republic of revolution’. theCzech Republic On1January 1993 and revenge, nopoliticalpurge inwhat wascalledthe‘velvet state. There was no of was elected chief ical persecution, and Václav polit- Havel, victimof aplaywright andformer Communist president Gustáv Husákvoluntarily resigned, 1989,the oslovakia, wisdomguidedmen.InDecember theCommunist regime inCzech- of During thelastdays of Czech Republic the voice parts). contrapuntally developed inacontinuous interweaving of repeated orimitated by successively enteringvoices and is a musical composition in which one or two themes are (According tothe Merriam-Webster afugue Dictionary and intolandscapeswhich dialogueswithitssoundtrack. travellings alongside semi-abstract fugue,acombination of willing toamalgamatemusic andvision.Itisamasterful proved that Kucia’s inspiration was still powerful and still pejzaz Ia ins fmy times,’ Kucia saidonanotherocca- ‘I amwitnessof Fimfárum 2,adaptingmore In 2006,thesequelarrived, Fimfárum JanaFimfárum Wericha (‘Jan Werich’s Fimfárum’, 2002) There wasnothingvelvet abouttheway animation . (‘Fuguefor Trumpet, Cello, andLandscape’,2014) 141 ua nawiolonczele Afteralongsilence, Fuga 142 ˛, tra ˛ bke ˛ i

Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 b rge 7Fbur 1961).Hershortfilmrˇ (b. Prague, 27February famouswasMichaela Pavlátováthe mostinternationally Pospíšilová, Aurel Klimt,andBrˇetislav Pojar. and Brˇetislav Pojar andwasdirected by Jan Balej,Vlasta It waswrittenby Jan Balej,Jirˇí Kubícˇek, Aurel Klimt, n isi ihteohrpol h r wk hl h eto humanitysleeps. A bizarrerobbery forces hertofacethereal world.ing akinshipwiththeotherpeoplewho are awake while therest of 146 145 144 143 Michaela Pavlátová Figure 3.26 musician andcomposer, toasmall villageontheSlovak border. andHungarian returned tolive-actionreturned withDe zvírˇ Karneval ished, togetherwithVratislav Hlavatý, theanimated short Neve company Wildbrain Inc. where sheworked asanartdirector withtheanimation she divided her time between Prague and San Francisco, made theeven (‘Repeat’). betterRepete From 1998–2002, and received anOscarnomination in1993.In1995she rˇ ecˇi (‘Words, Words, Words’, 1991) won many awards Pavlátová’s stilldrawings are even better:lively, sensitive, andexpressive. ‘Etiuda & AnimaFestival Catalogue’, Krakow, following 2008.The quotations comefrom thesamesource. A psychological filmabout partners’ thepianist mutual searchEva. She follows herhusband for harmony, Peter, of ittellsthestory a Ofka, age 25, worksOfka, a nightshift at a 24-hour shop. She hides her uncertainty and unhappiness, living a lethargic life and experienc- mn h e eeaino animation creators, Among thenewgeneration of Back in Prague, she directed the live-action feature film (‘Faithless hry Games’,2003). ˇrné

(TeCria fAnimals’) and in 2008 she of Carnival at (‘The Michaela Pavlátov ˇti noci(‘NightOwls’). á, R ˇ ecˇ i, rˇecˇ 143 i, rˇecˇ In2006shefin- i, ‘Words, Words, Words’, 1991. ecˇi, 144 rˇ ecˇi, erotic andwhat isextremely isvulgar narrow’. them. Pavlátová worriedbecause‘the linebetween what is Animals’isbasedon of erotic Carnival elementsand‘The herfilms have black humourandsocialreflection. Someof what Pavlátová findsinterestingexample inanimation: of changing theirbehaviour andrelationships. Itisthebest various couplesspinninginaviciouscircle, eventually ironic.’) being but thenitbecomessugary. sarcasm. I like I like when everything isonlynice?You canmakeiteven nicer, ate, tobealittlemore direct. How canyou exaggerate ested inconflict,’ Pavlátová says. ‘You have to exagger a café, andevery ideaisoriginalandbiting. (‘Iaminter what peoplethinkorwanttosay in is avisualization of especially for their dramaturgy. ‘Words, Words, Words’ ‘Repeat’, stand out for good drawing short stories.’ make illustrations, feature films, children’s books,I and upsomethingnew.bored withanimation andthenI take ‘Repeat’, writtenwithJirˇí Kubícˇek, of isthestory Her finestanimated films, ‘Words, Words, Words’ and Pavlátová is a versatile artist. In her words, ‘I often get 145 Chapter 3:Czech Republic 146 and timing, but

157 - - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 her carnal story withtaste. story her carnal acrossmale passengers town. Oncemore Pavlátová tells driver who experiences arousing fantasieswhile carrying music inthesoundtrack),aboutafemaletramway returns acodatotheprevious film(Saint-Saëns’s It isasortof prisingly, itreceived awards at many festivals. international erotic poetry/comedy.Animals’ is agoodpieceof Notsur and derisively. orgy. Finaleisamerry The of Carnival ‘The less lady whose clothesgoupanddown, melancholically melodicSwanisillustrateding tospurt.The with- amotion apparently pleased birds, and ends with the fountain ceas- with menandwomen offeringtheirprivate body partsto starts withaphallicfountain inapublic park, continues Gašparovic´’sof Satiemania. impressive imagesinsuspendedtime, alittlereminiscent almostfixed, Characters withLongEars , isacollectionof from room toroom, underwater. eighth movement, The peopleinbed, track-forward of suous withanocturne genitals andbreasts. Aquariumisoriginal,slow, andsen - is aboutpuberty; movements from theoriginalfourteen. HensandRoosters director desanimauxin1886.The pickedseven Carnaval 158 alternating live-actionalternating andanimated objects, hasanimated geometricforms. of editing andthearticulated interplay it–such ashis rhythmic define Barta’s style–or part of a music clip, inwhich one canidentifyelementsthat will seem obvious quotations from thepainter.) Basicallyitis Francis Bacon.(Some passages by realism of thedeformed ucts are very much present – and by optical art, but also 1980) isinspired by popart–consumerbrandsandprod- live-action. films, Amonghisfirst Diskžokej (‘DiscJockey’, organically, usingvarious animation techniques aswell as staging, oftencombiningthem and usedseveral of forms Since thebeginningBartahastakenaneclecticapproach truth. pet animation, andthestatement hasonlyabitof expressionistic stylelikenothingelse. Golem, which had suited his inspiration and production of found itsohard togetfundingthat hehadtogive uphis hisgeneration, he mostgifteddirectorsystem. The of thestate was theCzech animator hithardest by theend of Hamelin(1985), Jirˇí PiedPiperof The Barta,thedirector of Jirˇí Barta Tram.avi (id.,2012)wasnolesssuccessfulat thefestivals. isashortonitsown. It segmentbasedonAviary The French composer Camille Saint-Saëns wrote the suite Zaniklý sve˘tZaniklý Gloves’, LostWorld 1982), (‘The rukavic of It’s aneasycliché tosay that BartaisTrnka’s heirinpup-

Chapter 3:Czech Republic i emti ac f isageometric dance of Wild Donkeys - interplay between severalinterplay ideas. tied down by andexploiting the aparticulargenre orform, screen languageinafantasticanddynamic manner, not acomplex dation isBarta’s abilityand hisuseof formal ror, thefilmhassurrealandmetaphoricallevels; its foun- ontheroof.a rainstorm Between fable, comedy, andhor his nose, oraclay character’s battle tostay intactduring good touches, such asateddy bear’s vanity when heshines herfriendssave course an oldCommunist her. leader. Of tercup isasweet littledoll,kidnappedby thegoldenbust of takesplaceinanattic.ings andlive-action. story But- The animated draw - the traditionalmanner, but withinsertsof protagonistsAmerica). The arepuppets, again animated in Who HasaBirthday Today?’, called‘Toys intheAttic’ made short ing mysterious forces, andclay withactors animation. astudent researching theGolem,unleash- of told thestory which wasshown inLondonOctober 2002. Itwould have was never able tocompleteGolem,aseven-minute trailerfor funds. Forwas replacedby thisreason, aproblem Barta of vakia). However, censorship aswe have seen,theproblem of Czechoslovakia (andhencetotheCzech Republic andSlo- aclosedsystemcentred onmediocrity. of conformity the place betweenandpuppets;they actors are symbolicof thevelvet revolution. mannequinsoccupy The a eve of Czech societyonthe ametaphorof becomes thesceneof housesinapoorurbanarea, crumbling anddesolate, of animates some mannequinsina real environment. A group For and falls victim to vampires. a cemetery enters which a thief animation role, hasacomplementary ina‘dark’ fantasyin the pied piper. InPoslední 1987), the Last Theft’, lup (‘The Hamelin,which gives anapocalypticmeaningto Piper of great impact. is asimple, shortfilmof wood, shot in a snowy forest. It raven and some pieces of o zeleném drˇ Balada Un chien andalouby LuísBuñuel.protagonists The of silent films, withan explicit quotation from thesurrealist gloves asprotagonists. Itharks backtotheaestheticsof cdm fArts, Architecture andDesign (VŠUP)in Academy of from 1958)graduated the Jan Balej (b. Prague, 30May Jan Balej h mgntv imi ie tcide n sfl f imaginativeThe filmisaimed at children andisfullof After experimenting with computer animation in the expression to libertyof theregime returned fallof The We already have praisedBarta’s Pied feature-length The (‘The Club of the Laid Off’, 1989), Barta theLaid Off’,1989),Barta Klub odložených Clubof (‘The Domecˇku varˇ Na pu˚de˘ aneb Kdomádneskanarozeniny? (‘IntheAttic: (ABla ftheGreen (‘A Wood’,evu 1983)are a Balladof (‘Boil,LittleHouse, Boil’),in2009,Barta - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 147 gloomy, and desolate. indoor scenes are The dusty and urbanlandscape is mainly nocturnal, external The Žižkov,ambience of Prague’s workers’ neighbourhood. inspired by real life, and particularly by theimagesand is remarkable. objects onthesets. characters’ buildup The and presence real cm.tall),allowing theuseof large puppets(60–80 longtime collaborator withŠvankmajer. ‘Seashells’utilizes shooting wasby Miloslav Špála,Balej’s associate anda a computer. The Mensdorff-Pouilly) withouttheuseof Araldite. They were traditionally animated (by Alfons rubber andlatex, andheadsmodelledinModuLite fantasy. ferent seasons. black The humourmixes withdreams and time ellipses, showinginthetree’s episodes lifeinthedif- involves story in appearanceandsound.The prolonged treean anthropomorphic andafish, rendered ingeniously fanciful inVe˘tvicˇka Ploutvicˇka, where theprotagonists are and paradoxical themes. Balej’s humourbecomesmore a City’,‘Seashells’repeats itsvisualchoices, itsgrotesque ‘Aand acocaineaddict.Without Nightin of thepoetry deadinsects, afuneraldirector for dogs, a tiny theatre of with apalacewithbizarrehabits:person inhabitants of spectively 2004and2006. Ve˘tvicˇka aPloutvicˇka (‘Ve˘tvicˇka were otherepisodes in 2007.The Ulity(‘Seashells’)and andPloutvicˇka’), dated re - the samename(67minutes long),which Balejcompleted threeinafeature episodes of itable andbecame oneof caricatured. highlypraised,thefilmwasnotprof Though - haveters Trnka-style immobilefaces, but they are more which canbemorbidandmockingat times. charac The - peopleinacity. setting hasamagicatmosphere, The of nightadventuresNight inaCity’),tellingtheintersecting tigious awards. Palecˇek (‘Tom for Thumb’), which hereceived somepres- 1992 and1994hewrote anddirected four filmsaboutTom but also followed his own research. independent Between Balej continued theCzech animated puppettradition with Miloslav Špála. on Czech fables. In1990hefounded HafanFilmPraha, 1988. Later heworked asanimator onaTVseriesbased Prague, for filmandtelevision, specializingingraphics in Pavel Koutský, communication personal toGiannalbertoBendazzi,2008. In building thenarratives andatmosphere, Balejwas Balej’s puppetshadleadstructures, bodies infoam segmentinthefeature)‘Seashells’ (thefirst shows In 2000, he made the short Jedné noci v jednom me˘ste˘ (‘A A director, setdesigner, illustrator, andscriptwriter, pleases, makespeoplelaughorreflect, itisOK.’) afilm His socialcriticismisimplicitandhumorous. (‘If expression. of greater artisticfreedom thaninotherforms he used animation for its very marginality, finding in it a is nottochange theworld but toshow itfor what itis, concentrated short film.Convinced that art’s purpose puppets. Hisfavourite wasthebrief, form tion insteadof his well-known hefocused countrymen, ondrawn anima- writer, animator, designer, anddirector. Unlikesomeof Pavel Koutský (b. Prague, wasascript- 6December 1957) Pavel Koutský (‘Uncle, Why IstheSeaSalty?’). ture hallucinatory. ing matter hasarealistic solidity), but alsoalienating and very realistic (even inthetreeepisode, andfish theliv- details, often badly illuminated. Thereisanabundance of tic; Duelshows how onecanrespond through art. birth to adulthood. But the vision is never wholly pessimis- society conditions the individual through mass media from shows through metaphorical but very direct language how gossip. InDuel(id.,1997)andMedia1999),theauthor sketches, visuallyrepresenting avarice, sexual desire, and it through animated designsintothree shortsatirical (threeactors conversations in a coffee shop),then changes watches thecartoononatelevision set). a famishedcat) asafilminthe(alive-action man Tom andJerrythe adventures (amousemust of escape (‘LongLivemyš theMouse’,1993) isacartoonthat retells ments inconstantmutation andcomicsituations. At’žije painting, andarchitecture. thealphabet, passingthrough mathematics, of the letters aknowledge that beginswith animation wasthe lastlegof reviewed hisown cultural route ironically, showing how one placetoanother. vitae(id.,1986),he InCurriculum capital, showing themmoving around asautomata from Prague’, 1983),hepresented touristsvisitingtheCzech Leninism inBohemia’,1990),andPortrét (1988). marx-leninismu vcˇechách Marxism- Last100 Years (‘The of inPosledních hiscountry 100let represents of thehistory Balej wasalsoable tocontribute tothecollective fea- (‘Pub’,1998)startswithascenefilmed Kavárna ele- graphic Koutský creates ahappy combination of films, hisfirst NavštivtePrahu (‘Welcome to In oneof with the episode Morˇ 2withtheepisode Fimfárum Chapter 3:Czech Republic e, strýcˇku, procˇ jeslané? 147

He 159 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 eoecoe fthesamemodel through plasticsurgery.become clonesof films have designsin black and white), asdifferent women Koutský’s other our isdominantinthedesign(many of and medicines (old age). In each age:toys (infancy),sex (youth), food (adulthood), of ble onman’s life, illustrated by the‘passions’characteristic raphies in cˇtyrˇ 160 148 Prague, where healsotrained.Since2000, haslived in ForSlovakia) many on6August 1972. years helived in Aurel inŽilina(Czechoslovakia, Klimt was born today Aurel Klimt mentor’s films. her movement tothepuppetsinmany andpersonality of herprofession. AsTrnka’s pupil,sheimparted the basicsof preparing hisfeature AMidsummerNight’s Dream , shelearned an assistantanimator at thepuppetfilmstudio. ArtsinPragueandwasimmediatelyas accepted Applied in1956from graduated theHigherSchool of ary 1935) Vlasta Pospišílová (b. Jurajdová, Prague, 18Febru - Vlasta Pospišílová odueo visualeffectsandcameramovements. good useof sensitivity,graphic realism inlightingandcolours, and Herworksgreed. standoutfor herpictorialand photo- work andpopularwisdomprevail envy against and humble protagonists amoral.The are symbolsof carry Broucek(‘The Family’, 1999). (‘Adventures in the Meadow’, 1997), and Broucˇkova rodina for children: Broucˇci napasece (‘Beetles’,1995),Dobrodružství Klimt. Inthe1990s, shemadesomememorable TVseries Werich’s (2002),which shecodirected Fimfárum withAurel theseriesJan The latterfilled’, 2001).triptych ispartof Down from theOak’,1991),andSplne˘ný sen(‘A Dream Ful- brilliant Poverty’, Barka’, Barka 1983),Lakomá (‘Stingy 1986),the among hershortfilmsincludethecomicPaní Bída(‘Lady involved indirecting puppetfilms for children. Standouts Hamelin(1958)by Jirˇí PiedPiperof sable inThe Barta. contributing her unmistakable style; she was also indispen- The mostmemorableThe beingthebumptious, sinfullady in Archangel GabrielandMrs. Goose (1964). Again, drawingsAgain, andobjectscreate symbolicchoreog- ee ne h ritcdrcino JirˇíHere, undertheartisticdirection of Trnka, who was The talesPospišílováThe adaptsintoshortfilmsalways From thelate 1970s, VlastaPospíšílová wasintensively

Chapter 3:Czech Republic Až opadálístízdubu (‘WhentheLeaves Have Fallen (‘Fouri lásky Loves’, 2003). It is a short para- 148 Later shedidthe samefor Jan Švankmajer, Plastic People (id., 2007), col- ih n oorwrh f h eto theCzech school. the bestof light andcolourworthy of and animated puppets. They alsoaddpictorialeffectsof drawings, Damascus’integrate objects, figures in relief, of and cinematically. ‘Fearless Frankie’ Hunchback and‘The Klimt’s maturation technically andnarratively, theatrically works Damascus’).These show Hunchback(‘The of (2006), for which hedirectedHrbácˇi theepisode zDamašku Nebojsa (‘Fearless Frankie’). 2 Healsocodirected Fimfárum andanothersegmentcalledFrantaing itsnamesakeepisode anthology-project connotations. details, itstandsoutfor itsrealistic settingandbleak space).Despitethefilm’s comic of enhancing thedepth technique (particularangles, cameramoves definingand Balej’s best work, both for its visual choices and for its musical-like scenes.and perform puppets. Klimtplays withgenre by having hispuppetssing drawings, taleintegrating a fairy objects, and semi-relief sound effects. Magic Bell’, 1998) is O kouzelném (‘The zvonu to addacomicdimension,aswell asironic intertitlesand quently usesacceleration andtime-lapsecinematography ‘western’ filmsandearly silentfilms. Klimt fre- of a spoof Hugo’, 1997),Klimtshotlive through actors pixilation. It’s rhyme. For (‘An Hugo –Krvavý Eastern –Bloody Eastern explanatory captions and rhythmic insistence on a nursery scene, with asingle interspersed filmconsistsof short. The Koškina (‘MashkinKillsKoshkin’), ahumorous puppet mented withdigitaltechnology. enjoyed combiningdifferent techniques andoften experi- talent toanimation. Klimtloved puppetfilm but always art andpuppetshows aswell as dedicating histimeand Klimt worked for television,experience gaining onvideo his productionBrˇetislav studioZVON. A student of Pojar, Malešov, 75kilometres from thecapital,where hefounded is unique. characters are notsoimaginative, but Žabka’s inspiration sky) andfurtherwithPrasavci (‘Premammals’, 2001).The achild whose head inflates himtothe and carries of story progressed withBabalon(‘Baballoon’, 1997,abittersweet in 1993withthecartoonKrávovina(‘CrazyCowHe Story’). Michal Žabka(b. Liberec, startedout 20December 1965) Czech Artists Other Klimt codirected (andcoordinated) thecollective Pád In 1996,when Klimtwas24,hecreated Maškinzabil (TeFl’ 98 srmnseto Barta’s and Fall’, (‘The 1998)isreminiscent of Fimfárum JanaFimfárum Wericha (2002), contribut-

Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 staré Prahy (‘Goat–OldPragueLegends’). Story Czech 3Dfeature-length animation, Kozí prˇ 2003 (Probuzení, ‘Wake Up’).In2008hedirected thefirst 1997 (Poslední vecˇerˇ many successful animated short films, internationally from mentioned director DagmarDoubková (seeVol. 2), made couple’s love withasadending. story (‘Geranium’, 2005)tells, inaratherstyle, personal ayoung cere andcareful, but immature. much The betterPelargónie Raven’, 2000)andPodobizna Portrait’, (‘The 2002)are sin - underthecamera.Havranall paintedwithoilcolours (‘The withthree shorts, July 1974. Shemade anamefor herself Grand Design,andDancePrague. film the country wasunitedagain. the country bytales basedontheclassicbookFimfárum Jan Werich. animated fairy of ananthology third andlongest segment of grotesque 40-minute Rozum aŠte˘stí (‘Reason andLuck’),the can bedealtwithlikealiquid.In2010,Súkupdirected the filminmanynary respects, ithadthebrilliantideathat light awards at many festivals. international Althoughanordi- 2001, hisBA filmSve graduation theoriginal. ing tostay truetothestyleof combining animation and live-action and using rotoscop- novelon thegraphic by Jaroslav Rudiš andJaromír 99, born on 18 October 1918. Itsurvived aNaziinvasion, on18October 1918. born theCzechs andtheSlovaks was hybridThe of country Slovakia 151 150 149 steady peace returned, on1January 1993steady peacereturned, new itsplit.The World War II,Communist rule, andeventually, when a Alois Nebel(2011),directed by Tomáš Lunˇák. thefeature his animation andvisualeffectssupervisionof was his commercials, titles, andsoon.Hisdirectorial debut techniques andstyles. Helater usedmany techniques in studio inAteliers, KZ,where hecould work withvarious Držiak attended theZlínfilmschool –theanimation Died OutintheMountains’),directed by Kristina Dufková. klobouˇ In 1939theNazissplit theState andcreated Slovak theso-calledFirst Republic, which lasted until1945.AftertheNaziswere defeated, Tomáš Luˇnák on30August 1974 from inZlín.Hegraduated wasborn theFilmSchool inZlín and from FAMU inPrague. Hisshort Fimfárum –Dot filmisFimfárum theanthology titleof The ono 6My 1974 in Piešt on 16 May Born Jan Tománek thealready (b. Prague, 1978),thesonof Lucie Sunková (néeŠimková) inPragueon7 wasborn ai úu a ono uy 1974inPrague. In David on9July Súkupwasborn Akrobat (‘Acrobat’, 2000)wasscreened festivals. at international Healsodirected music videosandcreated spotsfor UPraces, United Velký Kýchacˇ Great (‘The Sneezer’, 2001),followed by cku spérkemsojˇ (‘The Hatcím (‘The andtheLittleJay Feather’), directed by Vlasta Pospíšilová, andJak naŠumavˇ e Páne ,‘h atDne fLord’) to Last Dinner of ˇ, ‘The ˇ (‘The Light’)receivedtlo (‘The ’ any (Slovakia), Noro 149 íbe rˇ Itisbased (‘Fimfárum – Third Time Lucky’). The othertwoetice všeho dobrého (‘Fimfárum – ThirdTime Lucky’). The segments areO ˇh –pove 150 ˇsti 151

. . . andtheLastOneTurn Pleaseoff the Light’). aposlednýzhasne(‘Steps, Jumps,Kroky, Years skoky, . . . roky film who hiscareer began in1995withtheanthology November 1974), a director, designer, graphic and teacher Bus’ wascodirected by MartinSnopek(b. Bratislava, 13 powerful, derisive live-action/pixilation work. Last ‘The film todate isPosledný AutobusLastBus’,2011),a (‘The worked onseveral films in various capacities. Herbest 1977),aJill-of-all-tradeswho Partizánske, 12October ality, magic,andlove allblossom subtly. pink) dress arrives, anderoticism, violence, death, spiritu- ladyand roughness.withapink(thoughmuted A young hard labour inrustycaravans.and sleep Itisavisionof theirdeadcomrades thing isgrey mourn andtheminers musical running26minutes, setinanopenquarry. Every- tivating Kerekesová in making the cap- (b. Žilina, 21 April 1974) Leonardo’, 2005). In2010,Šebestová assistedKatarína ‘Four’ in2007,following film,Lionardo herfirst mio(‘My 1979.Shefinished Tatra Mountains, on9February other women. three popularsinger’s fatewiththefates intersects of A Four storiestakeplaceonespringday inthelate 1930s. won theGrand Prix at theAnimateka festival inLjubljana. when Štyri(‘Four)’, byDecember 2009, Ivana Šebestová, this choice was clear in digital animation. wisdom of The that focusedsity intheterritory onteaching classicaland Performing ArtsinBratislava. univer Itwasthefirst of theAcademy at thenewlyfounded filmand TV facultyof new generation for bettertimes. funding, the Slovaks embraced teaching and prepared a wearing themselves down seekingnonexistent instead of penniless. leader, Their Viktor Kubal, diedin1997.Yet in Czech towns. Slovakia’s professionals found themselves animation wasbased national traditionof (Zlín), thegrand much hope. Slovakia hadanunderdeveloped economy –and state of ‘Four’ wasproduced by Ivana Laucˇíková Zajacová (b. the inPoprad, directorThe wasborn at thefoot of Animated Filmwasopened of In 1993,theDepartment Trnka (Prague) and Zeman Even during the days of Kamene (‘Stones’,2010).Itisapuppetanimation e ob Chapter 3:Slovakia rˇ i vyhynuli(‘How theOgres

161 - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 Michaela C courageandfriendshipfor children. of is astory film,Ktojetam?(‘Who’smade herfirst There?’)in2010.It 1948–1998], Balassi Kiadó, Budapest,1999,p. 116. 1948–1998], BalassiKiadó, Budapest,1999, p. 113. following years asapostproduction supervisor. sons, thisgoldenboy (b. Handlová, 18June 1976) spentthe nated for aStudentAcademy Award. For undisclosedrea - 1999) won two dozen prizes andwasnomi- international ately murky style. tive. private lives, but each seesthingsfrom adifferent- perspec boxing ring, andoutsidetoo. They share professional and several awards. Siamesetwinsfighteach otherinsidethe his bestfilmsofarwithtWINs(id.,2011),thewinnerof mirror, andaffecteach other. ayoung, naive girl andanolderhomelessmanoverlap,of short animated film.InSan Francisco, thelives anddesires 2011)istheirfirst Dust andGlitter(originaltitleinEnglish, 2010 they created theproduction company OvéPictures. various countries. Backhome, they joinedforces andin 162 155 154 153 152 ActonMotionPicturesthe Hungarian madeitpossible financial subsidies, mainlytoinitiate productions. In2004, startedgiving Hungary the National CulturalFundof amongthefilmproducers until2010.Meanwhile,tenders bygranted theparliament annually. Itdidsoby meansof wasestablished, distributing Hungary the subsidies of was over. In 1991, the Motion Picture Public Foundation why thestate-owned Pannónia went bankrupt. support tothefilmindustry, andthiswasthemain reason National Hungarian TelevisionThe halted its financial and hadlesscapacitytoproduce theirown artisticworks. were productions primarilycommittedtointernational and several smallerprivate studioswere founded. They Pannónia asHungary’s onlyanimation company ended, regime in1989,theuniquepositionof With thechange of Hungary Surname first, given first, namesecond,accordingcustom. totheHungarian Surname By Orosz AnnaIda. Dizseri Eszter, animáció krónikája Animation 1948–1998[Frame Hungarian Kockáról kockára –A magyar by Frame Chronicle –The of Dizseri Eszter, animáció krónikája Animation 1948–1998 [Frame Hungarian Kockáról kockára –Amagyar by Frame Chronicle –The of eoiaOetv b iia 8Jn 1984)and Veronika Obertová (b. Žilina,18June Vanda Raýmanová (b. Nová Banˇa, 1973) 27March (‘IntheBox’,Michal filmVkocke Struss’graduation Peter Budinský(b. Bratislava, made 3September 1983) The central financial role of the Ministry of Culture theMinistry centralfinancial The role of

tWINs is a cutting, strong film, drawn in an appropri - Chapter 3:Hungary ˇ opíková (b. 1984)studiedin Žiar, 27August 152 profitable, and,hence, ‘theway out’ films for families, since the manager considered them managed by Tibor, Hernádi in PécsandKecskemét were privatized. Pécsstudio, The state purchase orprivatization. Onlythetwo branches cheaper –for themtomaketheirown films. animation programs made it easier – and ware and Flash computersoft- wideaccessibilityof oratwist.The gag younger generations preferred cartoonsmotivated by a animation Hungarian sincethe1970s. contemporary The losophy, creation andexistence, hadbeenprevalent in inspired by thefinearts– which dealtwithartandphi- television shorts, pilots, andseries. animated contentfor television –mainly production of systems, Public Hungarian Television hasreinitiated the productions. Since2011,through newlyestablished grant film filmcompaniesinHungarian tal andinternational private capi- the state. increased This theinvolvement of to pay thetaxonprofit toaninvestment fundinsteadof directed by Koltai Jeno included woes. Such features were madeinanAmericanstyleand series of episodes were episodes produced, scene by scene, over series of playwrightthe nineteenth-century Madách Imre. The drama-literature) theHungarian by of a symbolicepic Man’, Tragedy (‘The Azembertragédiája of adaptation of Hungary’s ancienthistory.mythological of interpretation lous Hind’,2002),anencyclopedia-like filmaboutanastro- theMiracu- (‘Songof madeÉnekacsodaszarvasról himself erdo˝ ho˝se (‘Tiny Heroes’, 1997) by GémesJózsef. Jankovics work which barely couldbecalledart.’ Pannónia: in a private studio, there is only lease end of Toit [. . .] me, privatization always meantit would bethe me asacaptainonwreck, tobethelastonesinkwith mation director Jankovics Marcell, who said:‘They placed nónia’s managerMatolcsy György wasreplacedby ani- was managedby MikulásFerenc (seebelow). In1995,Pan- for Red Kecskemétfilm drink.The Bull,theenergy Studio nyfilm andwasbestknown for provocative commercials In the1990s, thecompany mainlyproduced feature Pannónia headedslowly intobankruptcy, withoutany Poetic, shorts–often sometimesaphoristic,visionary The manager-director’sThe otherambitiousproject wasthe (‘The SeventhA hetediktestvér(‘The Brother’, 1995), ˝ and Hernádi Tibor, andHernádi andVacak, az 153 changed itsnametoFun- 155 154 from thestudio’s Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 Sosemvolt Cigányországlast film,Sosemvolt (‘Never Never Gypsyland,’ 1997), children talkabouttheirhomeland,Hungary. Her rossz Here’, is(‘ThereAreandBadThings Good Things styles, socio-filmswith children’s drawings. InVan ittjóis, skássy Kati,who continued mixinggenres and visual 156 Figure 3.27 was the last part in this conceptual series.’was thelastpartinthisconceptual were plannedandmadevery consciously. Afénypillanata oeuvre, aconceptual allmy I had works chance left[. . .] tosay that today’sfilm I meant civilization hasnot much Light’, 2002), saying, ‘With this Adventlanata (‘The of alypse’, 1999). Lang’s civilization. Ecotopia(1995)commemorates Fritz tiques of büchler portrayed cri- grotesque apocalypses and harsh and spring, basedonaTchaikovsky theme. Later Reisen- life. films inthe1990s expressed longing for anatural state of prominent wasReisenbüchler personality Sándor, whose Workshop (managedby MikleJudit). group’s The most cinemas in2011. serieswasfinally The released asathree-hour feature in Athenian,Roman,(Egyptian, etc.),withanachronisms. therespective historicalperiodscovered by each scene of two decades (1990–2011). They were made in theartstyle . . .’ –Interviewwith Reisenbüchler Sándor). Filmkultúra,2003. Lendvai Erzsi, ‘És jött a sehonnan fújó szél . . .’ –BeszélgetésReisenbüchler (‘And Sándorral Lendvai Erzsi, ‘Ésjöttasehonnanfújószél. . .’ there camethewindfrom nowhere h te usadn ietro thegroup wasMac- otheroutstandingdirectorThe of He consciously finished hisoeuvre withAfénypil- lastsuccessfulteamwithinPannóniaThe wasGrácia (99 saclbaino youth, hope, Vivace(1989)isacelebration of Allegro - Metropolis Apoc , followed (‘Merry by Boldog világvége

Vigyázat, lé Orosz István, Vigyázat, pcso˝ , ‘Mind the Steps!’, 1989. !, ‘MindtheSteps!’, 156 life andsoul. humansandcreatures, symbols of worldtransforming of have I calledtoyou’, and showing acontinuously forming the depths Genesis. film is based on the topos, The ‘Out of (2002, produced inStudioExist),anoriginalvisionof space, andparallelworlds, visuallyandacoustically. to AlainResnais’s LastYear atMarienbad,plays withtime, Az ido˝ (‘TimeSights’,2004),compared by látképei critics at avillaandpeeps mysterious lady inawheelchair.of abouta boystory whointheabandonedpark wanders tones. etchings, were highlypoeticwithoutany political under perspective. Orosz’s next monochrome films, resembling out Budapestapartmentbuilding isshown from aboy’s lépcso˝!(Vigyázat, A paradoxical,, ‘MindtheSteps!’). no-way- JiríMenzel, aCzech live-action director.of Mine’,2002)invokesTown thenostalgicandironic tone of his own fancyuntilitsdeath. AzénkisvárosomSmall (‘The and refurbishes itto into a giant whale during a hugestorm small, ironic gags. InJónás (‘Jonah’, 1997),alittlemangets Gyulai Líviusz(b. Barót [Baraolt, Romania], 1937)is full of of their films were influenced The graphicart. work bytheir imagination. of ours and gloomy pictures withthecol- 2004), contrastsstern Keresztes Dóra made the black-and-white In 1989,Orosz István madea‘system-changing’ short Grácia were fineartists, and thedirectorsof Many of Kert (‘Garden’, 1993)isamelancholic coming-of-age Chapter 3:Hungary De Profundis

163 -

Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 – Mansfeld Péteremlékére (‘CourtRecord –inMemoriam culture. Jegyzo˝könyvsive of politicalmisinterpretation cal Manoeuvre- at Night’,1991)isabouttheaggres production withexceptionally finelydrawn shortfilms. citizen.garian InKecskemét hecontinued hisoutstanding minority in that and left to become a Hun- garian country Vol. 2) asaRomanian filmmaker. Hewasfrom theHun- on theroofs. drawings onthewallsandpaperboardgraffiti-like figures live-action filmwithanimation.There are animated Mária’s weremation made by form, several directors. Horváth Mures, Romania], 1956). váth Lajos(b. MáriaandNagy Marosvásárhely [Targu From the1990s, have theepisodes beendirected by Hor production wasstartedinthe1970sby Jankovics Marcell. Folk(‘Hungarian Tales’), withonehundred episodes. Its Népmesék wasMagyar mostpopularinternationally The 1976–1985; , ‘Water-Spider,(Vízipók acsodapók Wonder-Spider I-III’, animation. that Kecskemét becameHungary’s capitalof 1985, andbecameabiennialevent in2005.Onecansay mation FilmFestival (KAFF),which asatriennialin began Kaposvár, 1940).HealsomanagedtheKecskemét Ani- studio’s managerandproducer wasMikulásFerenc (b. filmindustry.in theHungarian From its foundation, the the studioboughtstate-owned assets–auniqueevent 1991 andwasprivatized in1993when theemployees of Pannónia. in Itbecameindependent 1971 asabranch of memories asheprepares for hislastshow. (2003) isafinelydrawn shortaboutanoldcircus artist’s film wasimprovised underthecamera. Pirates’, 2002).BasedonFrançois Villon’sof ballad,the hot, dynamic oilpainting-filmKalózok szereto˝je Lover (‘The Kovásznai György’s paintedanimation inher tradition of ral dimension-traps. Jelenések (‘Revelations’, 2001)envisions M.C.Escher’s spi - were expressive works withtenselywaving lines. graphic Graphic designer M. Tóth Éva’s (b. Kaposvár, 1962) films 164 157 ‘Egy újabb –BeszélgetésTóthPállal nap’ Bodolai László, ‘Egy [‘Another Day’ –Interviewwith TóthPál], Filmvilág, Budapest,1999/08,p. 27. (‘Culturehistori- Éjszakai kultúrtörténetihadgyakorlat V.Szilágyi Zoltánhasalready beenmentioned(see ani- Artistic shorts, oftenpushing theboundariesof From thestart,studioproduced children’s series Kecskemét Animation FilmStudiohadbeenfounded in Finally, Rofusz Kinga’s (b. Budapest,1970)Harlequin Péterffy Zsófia (b. Budapest,1971)continued therich Several young animatorsstartedtheircareersat Grácia.

Chapter 3:Hungary Zöldfa utca66(‘Greentree Street 66’,1992)mixed Leo ésFred, ‘LeoandFred I-II’,1984–1985). -

ing, a random drawing or a short melody’. His slowly unfolding storiesusually‘originate from afeel- worlds; hewasnotinterested increating bombasticeffects. animation was only atechnique tobuild hisminimalist In hisinterviews, heemphasized that tohimcomputer founded itin1996 andmadecomputer-animated shorts. seenfromcalm before aswingundertree. thestorm, 2007; test,‘Foreign(Idegen , 2004;Ssshottt Body’, 2002;Hommage death movements andgrotesque figures danceof ary made dark, dynamic hand-drawn films.They useavision- wooden puppets. the ashumanbeings thefilmdepicts characters versus of visions before hisexecution. memorable The metaphor 1956,showing theyoungest victim’sthe Revolution of Péter Mansfeld’,2006)wasmadefor of theanniversary also madesomeartisticshorts. ducing series, music videos, commercials, andTV spots. It theleadingstudiosinEurope, pro- tobecomeone of grew including Slovenia, andRussia. Serbia,Bulgaria, Varga Talented artistsfreelanced from neighbouring countries, Csaba and producer Erkel András (b. Budapest, 1962). founded in1988by theanimation filmdirector Varga Parade’, 2001;Arc 1980s (Labirintus,‘Labyrinth’, 1999;Pszichoparádé, ‘Psycho- making clay-animated dystopias, which dated backtothe theSand’, 1996). Healsocontinued Songof dala, ‘The panied by orchestra agrand (Hamu,‘Ashes’, 1989;Ahomok sandandpaintinganimation, oftenaccom- show-tours of C.A.K.O.) popularitywithhislive international gained and pastcreative course. It canbe considered aself-reflection onTóth Pál’s present on a drafting table.cartoon as an amusing brainstorming makinga Rajzfilm (‘Cartoon’, 2004)shows theprocess of artwork, shows ayoung firefly withacrushonthemoon. Fireflies’, 2000),ananimated lighting Sexual(‘The Lifeof ple who have lostthemselves. Aszentjánosbogarak nemiélete peo- as accessories, illustrates the everyday role-plays of Day’, 1998),in which clothingtakes on humanbody parts the world) újabb canbefreshly portrayed. (‘Another nap Egy communication, love conquering crisis, theimpossibilityof through which conventional themes (identity-loss, creative lay inasurreal,meditative, delicately existentialist humour Pajafilm isTóth Pál’s one-manstudioinSzeged. He artistUlrich Gábor(b. graphic The Budapest,1967) Varga private Studiowasthefirst studioinHungary, puppetandclayThe animator CakóFerenc (Studio Panopticum, 2008).Mielo˝tt (‘Before’, 2005)shows the , ‘Face’, 2007). 157 Their values Their Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 animation filmdirector M.TóthGéza(b. Veszprém, 1970). city’s CGIsetting, making themovements especiallyclumsy. dimensional, digitalcut-outcharacters are presented inthe Park filmhasaprovocativeBudapest. The tonesimilartoSouth rival families, GypsyandHungarian setincontemporary action comedy, aromance between aRomeo andJuliet of Gauder Áron (b. Ko˝szeg, 1973),wasalow-budget cartoon District!’, 2004),writtenby Novák Erik anddirected by snake,rain, thefullmoon,ahungry oradumbhunter. tune. They are always –by interrupted heavy singing outof plunking a log, a rabbit drumming on a trunk, and a wolf thewood –abear collective rehearsesinthemiddleof jokes. A jazz by Alexeev collectionof wasaFlash-animated tor. award-winning international LogJam The series(2008) asked Alexey Alexeev tobethecoproprietor andartdirec- Studio, boughttheSwedish-owned StudioBaestartsand existence. his of his home on a strange planet and find the purpose with a disproportionately small head tries in vain to make humorous cult figure Kistehén (‘Little Cow’). In the dark and morbidly In 2001,IgorLazincreated ananti-intellectualsinging Igor Lazin,andproducer Vass Jeno˝ established MyFilm. In 2000,Kollár-Klemencz László(b. Budapest,1966), theColdWar.ody of Pál Balázs(b. Budapest,1970),acomics-influenced par András. ment is the minimalist synthesized music by Wahorn sex; theaccompani- monotonous in-and-outrhythm of (1995). His neo-primitive are animated graphics on the 1952) madethemulti-award-winning MyBaby LeftMe Wahorn Andráscomealive toFrank Zappa’s music. garde paintingsby LugossyLászló, ZámbóIstván, and Igor Lazin(b. Novi Knezevac [Serbia],1964).Init,avant- director, madethewell-known Bestiák(‘Beasts’,1993)with Pilot StudioinMoscow. Varga Csaba,thestudio’s art Alexey Alexeev (b. Moscow, 1965),who hadcomefrom thesamename. Itsdirector was live-action comedy of (2002;withTigerAspect),basedontheBritish Mr Bean 159 158 By IgorPrassel. composerwasPacsayThe Attila(b. Veszprém, 1970). KEDD Animation Studiowasestablished in2002by multi-award-winningThe feature filmNyócker! (‘The Varga In 2005,Erkel producer András, of theformer A shiningmeteor, Varga Studiowent bankruptin2005. SerbianfineartistMiloradKrstic´The (b. Dornberk, itsbest-known products wasthecartoonseries One of , similarly takingthechildren’s perspectives. two- The (1999) is a Flash animated music clipbyRanbo13 (1999)isaFlash Morb (2003),alonelyAdam-likeclay figure - Vácz Péter;andSymphonyNo. 42 (2013)by BucsiRéka. by Szederkényi Bella;Nyusziéso˝z (‘Rabbit andDeer’)by Simon’, 2009)by Molnár Tünde;Orsolya 2009) (‘Ursula’, (‘IAm inated for aCartoond’Orin2007;Simonvagyok DuckiTomekHungarian (b. Budapest,1982),alsonom- films graduation were: (‘Lifeline’,2006)by Életvonal Polish- of MOME thehighlights studio’s filmmakers.) Someof was provided by Pannónia, were and courses held by the Design (MOME)since 1980. (Before 1989,thetraining Artand been available University at of theMoholy-Nagy lan rajzok, ‘Invisible Drawings’, 2012). together withherfilms(Hanne,2005;Lena2009;Láthatat- Her originalartworks are usuallyexhibited ingalleries ual world basedonherdrawings pictures. anddigitalglass sensitively combinedwithavery poetic,sensual,andvis- afemaleprotagonist. Herellipticnarratives are view of humanbeingsfrom thesubjective pointof inner state of 3D effects. creatively combines analogue chalk animation with digital est animated piece, MyNameIsBofferBings(id.,2012),he ludak, körtefa,‘Wasps, Geese, Pear-tree’, 2004).Inhislat- Fear’, 2003;Darazsak, félelem, ‘Days Filledwith aSenseof melyeknekand humorousértelmetadotta (Anapok, storytelling animation shorts withsimpleandplayful visualcharacters from herlittlebrother’scornfield, perspective. digital papercutoutfilmaboutagirl’s nightlove affairina summer day. Tejfogak (‘MilkTeeth’, 2007)isasurreal,eerie driver’s breakdown, setinanabandonedvillageonahot anex-train (‘Dead Water’, of 2001).Itisthebizarrestory times brutallyrealistic, paintinganimation film,Holtágban (by Bánóczkihimself).Hemadetheexpressive, some- value highliterary visualstyleandscriptsof an engaging opposing, abstractfigures, visualized and musicalized. two cal parable aboutthedestiny-changing meetingof nated for(2008)wasaphilosophi- anOscarin2007.Ergo His computer-animated shortMaestro (2005)wasnomi- with MilanEricˇ (b. 1956),madethe feature Socializacija alreadyThe mentionedZvonko cˇoh (seeVol. 2), working Slovenia In Hungary, university-level animationhave courses Magyarósi Éva (b. Veszprém, 1981)seekstoportray the Csáki László (b. Mosonmagyaróvár, 1977) made chalk h im fBánóczkiTibor (b. Sárospatak, 1977) have filmsof The 159 Chapter 3:Slovenia

158 165 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 cˇist odbit(‘Koyaa theExtraordinary’,2011). je for instance, helpedconstructthepuppetsfor Koyaa: Lajf many contacts. Polish international The studioSemafor, hiswork, Saksidastruckup large of team.Inthe course (‘Kiddo – Slingshot’, 2009), completed with an unusually through withthe10-minute puppetfilmMulc:Fracˇa was abigsuccess. to fifteen characters at atime–iswanting at times, but it ing puppetdesign.Itscomplex animation –involving up boasted beautifully detailed setsandprops andoutstand- a 25-minute puppet animation from anoriginalstory. It puppetanimation, shadow animation, andchalk drawing. of Marina Rosset tomakeLastMinute(id.,2010),acombination je bolezen (‘Lovesick’, 2007).Shecollaborated withtheSwiss her films Zasukanec(‘Mate to Measure’, 2004) andLjubezen cˇadež (b. 1977)successfullytoured thefestival circuit with animation. ’n’ Coffee’,2008),setanewstandard for localcomputer Perkmandeljc (‘Perk’, 2002).Hiscˇikorja an’ kafe (‘Chicory computeranimation inhisshort showed commandof Kastelic (b. tocauseastirwasDušan first 1964), who Slovenian auteuranimation. The witnessed therebirth of was abreakthrough inSlovenian animated film. they jointlyreceived thePrešeren FundAward. film The milk, stockcubesandlastbut notleastlove’. about enthusiasm,naivety, selfishness, vengefulness, lies, cˇoh andEricˇ worked ‘writtenby onastory life, astory aBull?’,1998).For almosttenyears, bika? (‘Socialization of gave updirecting for organizing. 166 162 161 160 rwn ubr ffineandvisualartsstudentscomplete growing numbersof education inanimation until2009.Itisencouragingthat schools inSlovenia providing practical andtheoretical ing professional production environment. Therewere no for alast- these canhardly beconsidered cornerstones Zap! Strupprodukcija, Zvviks Production, andInvida), up localstudiosinrecent years (amongthemBugbrain, Slovenian animation. of to aseriesandbecamethegreatest hitinthehistory Beezees 2003)intraditionalanimation. –Cherries’, Itled riems egvnt h teghadwrt fthemanagingdirector, Margit ‘Buba’Antauer,Praise must of begiven tothestrength and warmth anaward-winning filmmaker who Hrvoje Turkovic´, Animation 2,no. 2 (Winter 2006). ‘Croatian Animation Today’, Journal of International Cartoons–The From the film’s press kit. Grega Mastnak(b. 1969)madeBizgeci:cˇešnje (‘The Kolja Saksida(b. 1981)hadhisprofessional break - In 2006,NejcSaje(b. 1976)madeDvorišcˇe (‘Courtyard’), fresh air. Špela Puppet animation alsohadabreath of Despite ongoing difficulties with production, the 2000s While groups of filmmakers have filmmakers joined forces and set While groups of

Chapter 3:Croatia 160 In1999,

way, noonewasinterested inthe‘tradition’. it wasnotaschool anymore. Everybody went hisorher Hrvoje Turkovic´: films ganda were made. But,to quote from an article by never interrupted. various shortages, Animation theZagreb Festival was repeatedly asked. are you recalling that oldfilmiccrap?’the foreigner was just four years before belongedtothedistantpast.‘Why 1995,whatretired hadexisted ordied.For theCroats of Animation had disappeared.had Almostallthemasters thenewstate, but School theZagreb of was thecapitalof when itsborders were recognized. internationally Zagreb fromindependence theYugoslav Federation, until1995, wasat country warfromThe 1991,when itdeclared its Croatia creative areas. divertnian animation willgradually theirenergies toother interest from thepublic broadcaster, thetalentsinSlove- screened festivals. at international them are not their studieswithanimated films, but mostof When peace returned, productionWhen peacereturned, wasreestablished but Despite the bombings that almosthitthecapital,and Without support at the state level and without much animation production inCroatia almoststopped. continuous (thoughheavily reduced) state support,the the the1990shadvirtuallycollapsed.[. . .] Inspiteof of or withdrew intotheirown homestudios. scattered the main authors abroad, hired hands, many of second-rate its authors. Feeling theirpositiontobeof company lossesandexpenditures –allat theexpense of thestate filmsubsidiestocover its own salaries, most of contracts etc.),absorbing tion, damaginginternational badbusiness moves (infeature filmproduc- succession of asincidentals. companyauthors ina The gotentangled its function,becameself-indulgent,treating itsmain administrationstarted tofallapart.The sectionovergrew In the1980s, theproduction situation Film inZagreb Zagreb Film fell into deep debt, and by Film fell into deep Zagreb the beginning 161 Animated entertainment andpropa- 162’ Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 atmosphere. 2004) andSilentium(id.,2006),which hadalugubrious and Marko Meštrovicˊ shortspots. Davor Med¯urecˇan of 2002) isananthology sebe, svizajednonikad(‘Every Day by Itself, Never Together’, are non-narrative exploits. GoranTrbuljak’s Svakijedanza U Lancima(‘InChains’,2011). It Very Well’, 2003),Kurzes Leben (‘Short Life’, 2007),and Girl’, 2000),Ich kannesmirsehr gutvorstellen (‘ICanImagine acake. toswindleeachtrying otherfor thelargest pieceof film, main Croatian andAustrian venues. successful Hisfirst we met him in Austria) played about 150 concerts in the tian Independent Artists’Association;tian Independent hewasthe artistic fromto 1990andagain 1995to1998. filmanimation theZagreb studio, from 1987 director of energy. Duringthehardest years,of hewastheartistic School andtheonlyonewhoZagreb masters wasstillfull in1952,JoškoBorn Marušicˊ Joško Marušic´ Figure 3.28 Nicole Hewitt’s In/dividu(1998)andIn/Between(2002) His otherfilmsincludeFilmsdjevojcˇicom (‘A Filmwitha Animator andmusician DanielŠuljic´ (b. Zagreb, 1968; rm19 o19,h a h rsdn ftheCroa - From 1993to1998,hewasthepresident of Kolacˇ people Cake’,1997),isaboutagroup of (‘The

Daniel Šuljic´ codirected Cjuganjska(‘GipsySong’, , Kolacˇ, ‘T wsteyugs fthe wastheyoungest of he Cake’1997. rpi tlsadue fcolour. Thereare grey andochre stylesanduses of graphic that blends reality andlegend. that haswitnessedhistoricevents. begins amemory Thus ruins, aplace During thisbreak heobserves alandscapeof a father with children to stop his car in an isolated area. world. Intheopening live-action forces sequence, astorm unable aperson tocommunicate withthe adult and of film. feature, hisfirst great a the generationassubjectof gap and itsmenacing, lethalpresence. (1980), Marušicˊ sea isamajorcharacter inthefilm.Ashisearly FishEye poverty becomes violence, violence becomes tragedy. The people. flows History round them without touching them; ade inCroatia, tellingalove between story two homeless itsdec- City’, 2006)wasthebestanimated shortfilmof exhibitions. lished several books, andhisartwork wasshown at many New Media), where hetaught three courses. Healsopub- (todayforZagreb theDepartment Animated Filmand Fine Artsin ment for Animated Filmat theAcademy of from 2000 to 2006. In 1999, he founded- the Depart thefestival board 1992 and1998;hewasheadof theWorld Animated Filmbetween Festivaldirector of of The gap between gap thetwoThe isunderscoredby different young people, hechose for ateacher of Not surprisingly His (Ribw,21)i h rgd fa childhood, Duga (‘Rainbow’, 2010) is the tragedy of (I h egbuho fthe (‘IntheNeighbourhoodof U susjedstvugrada soshsde nweg fitsbeauty showsknowledge hisdeep of Chapter 3:Croatia

167 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 Serbia 168 successes for C featuring anabsurd neverending fall,followed many other short, Bababel’,1988).This Lalilonska KulaTower (‘The of tor, famewith international artist.Hegained andgraphic was adirector, writer, music composer-performer, illustra- Rastko C the level of fewpeople haveAs faraspure talentisconcerned, reached together. ciate their intrinsic poetry, the films should be screened aquickoblivion. To fullyappre - freedom andtheriskof fireworks, each amazing thespectatorswith intellectual version. and computeranimation. Therewasalsoastereoscopic connects two centuriesvery well, synthesizing traditional film by ÉmileCohl.Itwasn’t completelysatisfactory, but it theeponymous gorie 2008(id.),acomputerreworking of Ristovski. Laza Quixote ridingtowards thelightwithmusic of (‘LightinA-Major’,1995)hasastylized Don u A-duru creatures. 2005),bothaboutimaginary amorph’, Svetlost Poorly Visible AnimalSpecies’,1998)andMetamorf(‘Met- by ). Itisaone-of-a-kindtrio, followedMythological Dictionary weird creatures from theBalkans(takenfrom theSerbian tango. SouthAmerican American ragtimeandthemelancholy of C a creative andcolourfulfantasyonmusic, composedby by theanti-warStop(id.,1983).Tango (id.,1985)is Ragtime 1982, from a popular song by Djordje Balaševicˊ distributed inthefestival circuit. (1931–1999) from woodcuts anamesakebook(1961).The 2010) animated woodcuts by Iva’s MilošC grandfather (‘Princess ontheWall’, 2006).Spomenici(‘Monuments’, 1983),madetheaward-winning Princeza NaZidu July to becomeamale. therainbow decides toswimthrough thelakeat thefoot of son consumedby thesamepassion,andayoung girl who between generations, two legendsinterweave: afather and wars images forthebackground of thelegend.Against happenings, which contrastwithvividcolourandstylized hues andfigures inspired by antiqueprints for thehistoric ´ iric North himself;itfeatures of thejokingmerriment Rastko’s talenteddaughter, Iva C C animation, C of On thecentenary and Bogies’, 1989) is a lexicon Bauci (‘Ogres of Ale I His début hadbeenOdlaziCirkus Circus (‘The Departs’,

Nevidljive I Slabo Vidljive Zivotinjske Vrste Zivotinjske SlaboVidljive (‘Invisible and I Nevidljive ´ iric’s artisticoutputcanbecompared toaseriesof Chapter 3:Serbia ´ iric´, but filmthat itwashisfirst well ´ iric´ (b.He Belgrade, 24May 1955). ´ ´ iric (b. Belgrade, 7 iric madeFantasma- ), followed ´ iric is onsuch award-winning filmsas1993’s Krst, tance, Bikicˊ wideimpor and commercials, andworked onprojects of duced around forty shortfilms. Studio worked onfive series, allcoproductions, andpro- through hisworkshops. Injustunderadecade, theBikicˊ uct for thefestival elite. Aboutahundred animatorswent Leipzig. Hewasalsoacclaimedfor hisbrilliantcommercials. last hewonprize filmfestivalin thefirst at the international (‘HisMajesty’,1980).For visocanstvo 1978), andNjegovo the 1977), including funny films, at theDunav filmstudio. Hemadeaseriesof sufferings during World War II. Serbian poets about the were inspired by the writings of ewsoeo thebestscholars inthe world. he wasoneof studied andwrote essays onanimation, andinafewyears writer, caricaturist, teacher, and organizer. Above all, he where hecontinued aprolific career asanovelist, screen- war chased himfrom Sarajevo toGöteborg, inSweden, short animated film director inthe1980s(see The Vol. 2). We have already metMidhat ‘Ajan’ Ajanovic, aBosnian Bosnia andHerzegovina after thewar. recognized tobeinternationally first The belligerence.eternal blends withtheultimate pessimism,describinghumanity’s School. the old Zagreb Laughter in the tradition of gags who aperson has losthisworld. of melancholic tenderness Mouth hasthehidden, and theevents Point depicted, of Sometimescrudeinthedrawingaesthetic concept. style extends theauthor’s studiesonrealism inanimation asan being able toleave nomatter how faronetravels. film The niscences, aboutgrowing upinSarajevo, andaboutnever images from hislifesubjectively. filmisabout The remi- a manfrom Sarajevo; theanimated drawings letussee which onlyatrailerremains. plefox’), of animated feature Džon Kapetan Piplfoks (‘Captain John Pip- theworld. Bikicˊ view of iature Malevich’),Kazimir inspired by min- thegreat artist.The Cross,Kazimira (‘The Maljevica theSquare, theCircle of Although heledabigstudio, madecommissionedfilms For Bikicˊ Veljko Bikicˊ His hr eeaino Bosniananimatorshasemerged A third generation of bitter MI /US(id.,2011),incontrast,isacollection of Prica o. . . (‘A about. . .’, Story 1997)takesanironic (‘The Book’,1978),KisobranUmbrella’, Knjiga (‘The (id., 2010) is a documentary about Mouth (id., 2010) is a documentary Point of (‘The Atlas’, Atlas’, Sezam Sesame’,1977),Atlas(‘The (‘The never forgot to be a film author. His signature , ananimated filmwasnotjustanartprod- (Novi Sad,1951–Belgrade, 1998)started diedbefore hecouldmakethe Kvadrat, Krug Krug -

Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 upr he f hmfracul fyears: Rekata(‘The them for acouple of support three of duced six pilots for animated series, but only continued to only randomattempts tolendahandanimation. Itpro- productions. asstructuresbegan involved withthe outsourced foreign the new production companies to be created. Some of funds for thefilmswithonlypartialstate support,had yet ent production companies, that were supposed to raise French filmfinancing scheme.- Atthispoint,theindepend aNational FilmCentre in1991,following the creation of production toitslarge visualeffectsunit, Worldwide FX. a fewpilotsfor animated seriesbut limiteditsanimation ety.) Boyana’s successor, NuImageFilmStudios, produced and ineffective protest soci- by thedisunitedfilmmakers’ disputes production company NewImageafteraperiodof statecollapsed in2006.(The soldittotheAmericanfilm Studios. It took part in several foreign productions but competition. inadditiontothestrong inBulgaria global puter games traditionincommercial animation andcom- the lackof success, considering these had a measure of dio. Some of Film,ChaosGroup,Zographic Gekon,andSokerov Stu- Animation, Studio Hill,NagualLtd,Venelin-Animation, theAmericanSugarshack as well asthelocal branch of companywas aUkrainian-Bulgarian (inthemid-1990s), working on outsourced foreign productions. Among them a private company, PillionFilms. Cabbage’). film’s The producers later becameof owners coproduction, Kisselozele (‘Sour in aGerman-Bulgarian tosurvive.gled Itemployed itsprevious staffasfreelancers produced 20or30filmsper year on average, now strug- democracy andcapitalismwaslongconfused. thepopulation by surprise, andthetransitionto many of thesystemtook Soviet politics. fallof The satellite of Due toitstraditionaltieswithRussia, wasaloyal Bulgaria Bulgaria 163 awards at several significant festivals. animated film Tolerancija (‘Tolerance’, 2008) received is Ivan Ramadan(b. Zagreb, 1985),whose computer- By Pencho Kunchev, Giannalberto Bendazzi, andTsvetomira Nikolova. ugra ainlTlvso,isl inacrisis, made NationalBulgarian Television, itself inthe transitionwasthe mostsignificantstep The In 1995,Sofiamerged withthelarger Boyana Film Several otherprivate companiesemerged, initially animatedThe filmstudioSofia, which had previously 163 wrote (‘And scripts, includingABiahmeKrushi Pears We Little Dragon’) andtheCGIshortZero (id.,2007).Healso theseriesMalkiatZmei (‘The directing several of episodes Strawman’,(‘The 2001),andPartsalat Rag’,2007). (‘The a tribute toLouisArmstrong’s music), Slameniatchovek in the mixed-media shorts Gorgone’,the Boy’, (‘The 1994),and 1995)andGorgonata mation inhisfilmsDrakonatimomchetoDragonand (‘The ducer, andprofessor at NBU. ani- He triedmany kindsof Anri Kulev (b. Shumen,1949),anartist,filmmaker, pro- Arts. DramaandFilm animation at theNational Academy of making films, exhibitions, and caricatures, andteaching themwere active tilltheirlastdays – (1929–2007). Allof Christo Topuzanov (1930–2006),andDonyo Donev Todor Dinov (1919–2004),Proiko Proikov (1927–2000), new generations. animation, passing ontheirexperience andknowledge to ucts. Many producers orteachers becameindependent of theirhandsatthe tradition,trying more commercial prod- great theleadingfigures made effortstosustain most of generally difficulttodistribute. Duringthe following years, tion was strong in art films, mainly shorts, which were the professionals themselves. anima- Bulgarian efforts of money but wasnotboundtoputthefundsuse. production shrankstillfurther. state The hadtosecure the encouraging, but theanimators’enthusiasmwithered as animation.sounded This budgets, funding160minutes of theaverage preceding year’s be smallerthanthesumof (the National Film Centre). annual The amount should not national budget shouldallocate asubsidy totheagency Act,amendedin2008.ItdecreedIndustry that theannual showing animated shorts. 1990s. theatres The uptheirtraditionof didnotkeep won inthe1980s, prestige internationally closedinthe 1973). the Seven Kids’,2005–2007)by VladoTomov (b. Sofia, (b. Sofia,1973),andValkut and isedemteKozleta Wolf (‘The Gabelko’,2005–2007)by DanielKaluchev Summer of father isanimator AnriKulev), (‘The LiatotonaGabelko River’, 2005–2007) by Andrey Kulev (b. Sofia, 1973;his Slav Bakalov (b. Sofia,1945)alsotrieddifferent formats, theperiodwas Perhaps themostactive of personality great importance passedaway: Meanwhile, artistsof Even so, animation survived –mainlythrough the ParliamentIn 2003, the Bulgarian passed the Film WorldThe Animated FilminVarna, Festival which of (‘Black Eyes’, 1992, Ochi Chornie Chapter 3:Bulgaria

169

Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 award-winning shorts, promos, ads, andheaders. They Dimitrov (b. Silistra,1964)were alsoactive of asauthors Burgas, 1958),Iavor Kaluchev (b. Sofia,1959),andGeorgi Vlado Shishkov (b. Plovdiv, 1964), Dido Nedelchev (b. 170 164 va’s and Ivan Tsonov’s (b. Circle’, Sofia,1956)Kragovrat (‘The 2006) (‘WhenWeKogato biahmegreshnitsi were 2011); Sinners’, cessful at festivals were VladoShomov’s (b. Sofia,1954) TV pilotsorauteurfilms. Among thelatter, themostsuc- foreign commissions, supervisingproductions, andmaking animation Bulgarian alive tokeep –workingstruggle on animators went abroad. home, Somereturned joiningthe house’, 2009),basedonJacques Prévert’s poem. work forUniversity wasFarut NewBulgarian Light- (‘The poem. Velislava Gospodinova’s (b.graduation Sofia,1986) Anna Blume(2009),basedonKurt Schwitters’s dadaistic P. Chekhov’s play), andVessela Dancheva’s (b. Sofia,1975) andAndrey’, (‘ThreeSisters Andrey 2009,avariation onA. Sofia, 1973) andAndrey Paunov’s (b. Sofia, 1974) Bronze‘The Boar’)by EmilMilchev; BorisDespodov (b. Michelangelo’, 1999,from HansChristian Andersen’s Nikolova [b. Sofia,1960]). (‘Uncle Parrot’s Rhymes’, 2008,togetherwithTsvetomira (‘Why isHeaven SoHigh’,2003)andPapagalski zalugalki (b. Sofia,1961).Shelaternebeto madeZashtoevissoko loosely basedonDante’s) by AnnaHaralampieva Inferno aries. Tenth They (‘The includeDessetiatKrag Circle’, 1998, foreign literature, tobreak perhapstrying the localbound- Moon’, 2001). then thesubtlyerotic shortLunatasussiniteochi (‘Blue-Eyed Baby’s theSlovak-Bulgarian seriesThe Adventures, sodes of White’) andFelinichita (id.,2009). (‘Blackon Nabialo acclaimed shorts, includingCherno shorts. Andrey Tsvetkov was very active, making several man commissionsandalsodirected several animated Todorov (b. Sofia, 1952) worked for many on Ger years children’s films, financed byaprivate sponsor. Nikolay Sofia, 1954). and Were’, 2007)for KrasimirIvanov (b. Kiustendil,1955), By MihaiMitrica˘. Quite afewwell-known andpromising and filmmakers Other adaptations(‘Mfor includeMkatoMikelangelo Notably, there were several animated adaptations from Pencho Kunchev (b. Sofia,1951)directed severalepi- Vitko Boyanov (b. Sofia,1947)madeseveral short very

Ednopochno (‘OneWay’, 2009);andTsvetomira Nikolo- Supofonia (‘Soup Symphony’, 1994) and Akvatoria (‘Aquatoria’, 2004)for Andrey Tsvetkov (b. Chapter 3:Romania A+E (2007). Tri sestri i - in thecountry. shortfilmsand animation festivalsother newinternational animated filmin2011,joining Varna world festival of bar, the 1982).Anotherdevelopment wastherevival of 2008–2010)by(‘Bulgar’, Nedelcho Bogdanov (b. Nesse- animated documentary.German-Bulgarian-Croatian Ivan Bogdanov’s (b. Sofia,1973)Bashta(‘Father’, 2011),a 1977) dno (‘Together’, 2008);andSimeonSokerov’s (b. Lovech, day Evening’, Decheva’s 2002);Kalina (b. Sofia,1979)Zae- Vutova’s(2003); Kalina (b. Sofia,1977)NedeliaVecher (‘Sun- 1973) andIvan Stoyanovich’s (b. Sofia,1972)Ecstasy 1974) Day(2011);RadostinaNeikova’s2007) andRaw (b. Varna, Dimitrov’s (b. Varna, 1980)Vazdushniat AirAce’, (‘The Ass Dragomir Sholev’s (b. Russe, 1977)Habanera (2002);Svilen Kulev’s theirmostnotable filmsare Andrey and formats. Someof styles,writing patterns, graphic animation technologies, MEDIA. animation projects toreceive adevelopment from grant Junk’)puppet filmBoklutsite(‘The wasamongthefirst Budinov (b. Sofia,1953).Radev’s project for thefeature (1991). Its festival success led to Shock, made with Vladislav Radev (b. Sofia,1960),mainlyfilmConservfilm for hisfirst abroad. also produced andsupervisedcommissionedwork from venture, which aimedat makingfeatures for export. The Dacodac (founded in1992).Itwasbasicallyajoint French focusing onadvertising. onlyonethat The stoodoutwas animators left the country. new studios appeared, A few decades-old equipment. tion costs, Animafilmcouldno longerbecompetitive using almost noartistic value. Inadditiontothe high produc - andwith and similarinstitutions),for educational purposes films, all broadcast in closed circuits (schools, museums, years later. Intheinterim,itproduced about140short and becameaprivate company. Itwent bankruptnineteen In 1991,AnimafilmStudioceasedtobelongthestate Romania The first Bulgarian animated Bulgarian first The Web serieswasBalgar youngerThe generation brought newhopes, ideas, inthe1990sisZlatinAmong themostdiscussedauthors fe h alo teCmuitsse,ms fthebest theCommunist system,mostof After thefallof Pet Pati (‘5Times’,2009).Coproductions included Patuvane (‘Trip’, 2011);AssiaKovanova’s (b. Sofia, (‘The Pianist’); Line’)andPianistut(‘The Liniata (‘The 164 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 tn o l fusineveryday situations. stand for allof Mihai in Ionescu’s Life’,2010)by Animafilmdirector, theformer project hasbeenfinished:Ozidinviat writing, only one approvedfunding. and financed As of them received submitted each year but usually none of Statistics show that three tofour animation projects were Cinematography (CNC). projects, theNational Centre of with passionandsavings. thesefilms were low-cost productions, made 2010). Allof (Zgomot alb,‘WhiteNoise’,2009,andGOPO sperant puppetanimation andCGI);Alexei Gubenco(Marile of Romanian shortat anim’est2007for Acrofobia, amixture thebest illustrator andanimator); RaulTaciu (winnerof animators appeared includingMatei Branea(asuccessful festival inthe country, washeldin2006.Independent condition. Shadow’, 2006) by Dragos¸ dealtwiththehuman Iuga tioned inVolume the 2.Povara umbreiBurden (‘The of (b. whomIgazság we men- Diosig, 21November 1953), short withclassicanimation, directed andwrittenby Radu and theirown money. (2004)wasanine-minute Boborul few enthusiastswho madeshortsusingtheircomputers duced inRomania studioclosedin2009. after1989.The 167 166 165 1960s. sion (CYBC)in1957.Animation appeared first inthelate Cypriotpublic televi- before that, withthecreation of three itsfilmmakingbegan years of history 1960. The mythical times, state Cyprusbecameanindependent in witharich stretchingA country culturallegacy back to Cyprus Australia, Ireland, India,Poland, andUkraine. Animafilm animators, anditproduced films for France, studio hadaround sixtyemployees, includingmany former Saxo & Company,’Saxo & 2007), the animated feature Aventurile luiPiccolos eign studiossuch asMilimagesFrance. In2007,itreleased Directed by AndréClavel andEricGutierrez.It should notbemistakenfor thenamesakeshortfilm by theDutch Joop Geesink (1960). Inspired by thesongwritten by ManosHadjidakis for Jules Dassin’s live-action movie onSunday(1960). Never RomanianThe filmindustry awards. Romania hadonlyonefinancinginstitution for cinema , the only international animation film anim’est,theonlyinternational first The Truly Romanian animation after1989amountstoa The company withimportantforThe signedpartnerships ¸e, ‘Great Expectations’, 2008);andMariusPandele S¸ urubaru. Itfeatures acharacter that couldeasily 165 the first feature the first entirely pro- ¸a luiIonescu(‘A Day ¸i Saxo(‘Piccolo, 166 nomineein - Piraia PiraeusChildren’), (‘The ArtwithTafrom theLondonRoyal paidiatou Collegeof and director Kyros Rossides (b. in 1973 1944) graduated music clips. Writer, painter, TVandtheatre producer, andlater workedcasting Corporation onmany animated graphic title for CyprusBroad1939) animated thefirst - Academy of Applied ArtsinPrague1976. Applied Academy of film tions in his graduation Cyprusanditsfolk tradi- lifeof recalled theagricultural film under camera. Painter Spyros Demitriadis (b. 1950) included international andnational competitionsections.included international tor. festival films and The screened authors’ independent artist,animator,1976), graphic andanimation filmcura- team washeadedby artisticdirector Yiorgos Tsangaris (b. The festival founding documentary inthecountry). first theWorld (originallyestablishedViews in2002asthe of AnimafestCyprus– theCountryside the inauguration of sameyearcourses. The pointwith marked anotherturning ing six classes through their multimedia arts and graphic Technology haseducated students inanimation by offer and insmallteams. mators emerged, basicallyworking onafreelance basis and museums, television spots, andcartooncommercials. animated documentaries, exhibitions artvideosfor gallery drawn andpuppet films, classicand avant-garde films, specializedas thefirst studioinCyprus, producing hand festivals.at international Toonachunks established itself towin Committeeandthefirst awardsCinema Advisory second animated filmtobecommissioned by theCyprus shorts, includingAnimalBehaviour(2005),the number of Toonachunksformed Animation Films. Heproduced a Committee.Advisory In 1999 Nicos Synnos (b. 1971) animationthe first commissioned by theCyprusCinema duced productions. Culture. body This provided government for film grants Education and of the Ministry Committee of Advisory tography, theCyprusCinema withtheestablishment of weresteps taken tocreate adistinctnational cinema- cials but noauteurworks. coordinated In1994thefirst In 1968, painter and graphic artistAndisIoannides(b.In 1968,painterandgraphic During the1980sthere were several animated commer ic 07 h el one yrsUiest fSince 2007,thenewlyfounded CyprusUniversity of mainlyCGI ani- In themid2000sanewgeneration of In 1997,videoartistYiannos Economou(b. 1959)pro- 2000 Miles and Thirteen Years2000 MilesandThirteen puppetfilmwas . This Cypriot Transfigurations at the 167 handdrawn oncelluloid Chapter 3:Cyprus

171 - - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 172 170 169 168 include: search for anational identity. Ukrainiananimation, but now they helpedinthe istics of folklore, andliterature. hadalways These beencharacter tion festivals. They focused onexpressing national culture, anima- sented theUkranimafilmstudio at international an animated paintingtechnique). Smirnova (b. Khabarovsk, Russia, using 24March 1951, and mila Tkachikova (b. Kiev,1959); Ukraine, 3September a Little Pig’, 1994) by Lud- ria odnogo porosionka of (‘Story Kasavina (b. Belaya Tserkov, Ukraine, 17April 1952); Isto- mother’s Stories’,1993,basedonJewish folklore) by Elena (b. Komsk, Russia, 12 February 1951); Bobe-Maices(‘Grand- Rosochka andMinechka’, 1993)by Natalia Chernysheva 1948); October Crocodile’, 1991)by MikhailTitov (b. Kiev, Ukraine, 12 layout menoranimators. animation directorswho hadstartedas new generation of activity, especiallyamongthe There wasablossoming of still provided conditionsfor thenecessary regular work. ofthe1990s, the government uzmultfilm). half Inthefirst experience (the greatest inthearea, afterMoscow’s Soy- Ukrainian animatedhadaccumulated filmmakers great the new social situation opened opportunities for creativity. on24August 1991, Independence After theDeclaration of Ukraine with Pasty Child(2013). and George Tymvios (b. 1986)madeanamefor himself Massin2014; 1990) created MindWar in2013andDanceof best Cypriotanimated film2013–2014;MarinosSavva (b. Katerina Pantela (b. she*p,nominated 1991)hadHolly (b. 1989)presented filmOfftheHook(2014); hisgraduation Promising CGIfilmmakerandanimator Andreas Rossides academicevents.international Technology collaborated toorganize annual University of auteur animated films. AnimafestCyprusand independent awideaudienceontheartof education of Among itsfounding principleswasthecultivation and A distinguishedUkrainian poetandpainter, Taras Shevchenko (1814–1861) wrote ‘Topolia’ in1839. By ElenaShupikand ElenaKasavina. We are toYiorgos grateful Tsangaris, who provided onwhich theinformation thissectionisbased. The films based on Ukrainian The folktales and songs films These were successfuldomesticallyand repre- thistimeinclude:Krokodil(‘The manyThe works of In theyears 2011–2014anewgeneration was active.

Koza-Dereza (‘ImpudentShe-Goat’, 1995)by Irina Chapter 3:Ukraine Kotyk iPetushok (‘LittleCat andLittleCock’, 169 Mamochka Rozochka iMinechka (‘Mummy 168 - 1999) by Evgeny Sivokon (b. Kiev, Ukraine, 7May 1937). Omelechka (‘How Areforou Nashego Things OurMelechko’, (‘Small Mitten’, 1996)by Natalia Marchenkova; andKak 1946);Roukavichka (b. Ukraine, Belogorsk, 18March in theVegetable Garden’, 1996)by Valentina Kostyleva July 2001); 1924–Zgurovka Poltavskaya, Ukraine, 14 16 October 1991) by AllaGracheva (Zgurovka Poltavskaya, Ukraine, in the2000s, itcouldboastsomeindividualachievements. demands, closedin2009. andBorysfen-Lutes tivals. Butthestudiocouldn’t up withthemarket’s keep animated studioat filmfes- Borysfen-Lutes international films 1962).These represented Kiev, Ukraine, 17April June 1960); andE=MC?(id.,1999)by AllaChurikova (b. 1994) by Sergey Kouchnerov (b. Rogachev, Belarus, 22 ’, (‘NineandaHalf spolovinoy 1959);Deviat 31 October Beard’, 1996)by Alexandre Bubnov (b. Vladimir, Russia, Blue- Posledniaya BorodyLastWife (‘The ZhenaSiney of quite successfulauteurfilms. make money to please their partners, but they also made thecompany aimednotjustto Ukrainian employees of privately owned commercial studio. Atthebeginning, the Lutes, in1994.Itwasthecountry’s openeditsdoors first elsewhere. to work intheUS, Russia, Poland, Hungary, France, and bestandmostexperienceddeserted. The professionals left of Ukranimafilmstudio gradually were ing. offices The government financ- the almostcompletecessation of crisis from thelate 1990s, duetothereduction andthen components, springs, objects. lamps, andothersurprising films’ are2007). The characters created from oldclock at malen’kiy Home’,2004) andSamy SmallestOne’, (‘The which wasfollowed by (‘ThereWas netdoma Nikogo Nobody his puppetfilmSvetlayaLichnost (‘LightPersonality’, 2002), Pedan (b. Dnepropetrovsk, Ukraine, 2February 1969) and Gogol. bybased onahorrorNikolai story theUkrainian-born Shevchenko; 1946),basedonthepoemby Taras Ukraine, 18March Poplar’,(‘The 1996) by Valentina Kostyleva (b. Belogorsk, The filmsbasedonUkrainianliteratureThe include:Topolia fUkranimafilm experienced almostnodevelopment If Clinic’,1994)and filmsincludedKlinika(‘The These A Ukrainian/French production company, Borysfen- promisingThe situation descendedintoaprotracted Audiences andcriticswere delightedtodiscover Oleg Khodyt Tykva Po OgoroduPumpkinWalks (‘The 170 andViy(‘Viy’, 1996)by AllaGracheva,

Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 173 172 171 made Georgian FilmStudio. of Orbi andKvali. In2005,afire damagedthefilm archives owned cinema studios into private companies, the studios fered for many state- years. turned Capitalismgradually Soviet Unionledtoeconomiccollapse. Animation suf- All toopredictably, Georgia’s from independence the Georgia iloso Georgians publication theirlanguagesince itsfirst in1880. millions of 1979). under hisbelt,includingthemasterfulLen(‘Laziness’, successfulfilms internationally had avery longlistof tion film at Clermont-Ferrand in2006. our sand animation, 2005) won the prize for best anima- dorogui (‘AllZasyplet sneg theRoutes Are Snowbound’, col - tion, 2002)won aprize at theKROK filmfestival in2003. Sivokon (b. 1937).Kompromiks (‘Compromise’, sandanima- ductions are 26shortfilmscalledMyUkraine. continued working withclay animation. Amongitspro- than tenawards at different animation festivals. Silver Bearat theBerlin filmfestival and received more 1965).Funny andsubtle, thefilmwas awarded the July 2002) by Koval Stepan (b. Novomoskovsk, Ukraine, 18 Tram (‘The nomer deviat Number9Goes’,clay animation, the periodwas mostnotableThe filmof fantasies. children’s andothercreaturesdragon, agymnast, of 20 seconds, sheshows hercolourfulinnerworld: agreen (‘Self-Portrait’, 2008),adrawn film.Intwo minutes and and O, Paris! (id.,2009)by Alexander Shmygoon. sokhrani (‘Let’s Save andKeep’, 2008)by Evgeny Sivokon animation festivalthe international KROK. tember 1976) received theaward for bestchildren’s film at 2005) by Alexander Shmygoon (b. Kiev, Ukraine,- 25Sep as itwasinexpensive. as sand animation, in order to continue creating – so long The importance of this writer and teacher (1840–1912) is enormous inGeorgia. MotherTongue this writerandteacher (1840–1912)isenormous , themanual that hecreated, importanceof The hastaught By MariamKandelaki. amansolazythat hebecomesafish.Infive minutes, thefilm shows thedifference between living andjustsurviving.It’s of thestory However, 2), lifewent on.Merab Saralidze (seeVol. Sivokon wasashy, benignartist.Healready taciturn, Ukranimafilm alsoproduced two films byEvgeny In 2005,Koval founded theNovatorfilm studioand Natalya Skryabina(b. Kiev, 1984)directed Avtoportret Later filmscreated at UkranimafilmincludedSpasii Pyesa Play dliatriokhaktoriv(‘The for ThreeActors’, Tutiqhushi (‘A Parrot’) in1989.A colt intothe gallops 171 Hedidn’t anewtechnique, mindlearning such 172 Shel tramvay film, and SamtastudiosjoinedtomakeanotherChavchavadze vrebi Filmi(Georgian (‘Borders’).In2009,theKartuli Film) memorable Discord,’ 2002). of Apple (‘The Paradoqsi Paradox’, (‘The 1999),andGankhetqilebisVashlebi another veteran, directed Motsme(‘Eyewitness’, 1991), thedirector’s death. of 1997),amusical theCountry’, screened intheyear of ers Masheneblebi 1992) and Qveqhnis belebi (‘Bugbears’, (‘Build- freedom. Tutiqhushi wasfollowed bythe soundof Saprtkho- in the air, into a parrot where and can hardly he hear turns forest, surrounded by music. Butcruelanimalsthrow him the Georgian classic writerIakobGogebashvili. ship’, 2000)aboutsomeunknowninthelifeof episodes da mogvaceoba(‘IakobGogebashvili:LifeandStatesman - intheUSat Warnerinternship Brothers. Babajan (‘Jan-Babajan’, 1986).In1995–1996, hetookan (‘Adventure theNaive DuckTasiko’, 1984),andJan– of (‘Ephemera’, 1982),Gulubrkvilo Bati Tasikos Tavgadasavali directed ber 1953) some goodfilms inthe1980s:Ephemera Dress’, 2009),based onaSerbianstory. Ar Akvs Mtvares Kaba (‘Why the Moon Does Not Have a and MKProductions, financedChavchavadze’s Ratom ters, wasametaphorforsociety. contemporary by Wolfgang Goethe. short,withnopositive This charac- (b. Tbilisi, 9 February 1957). They(b. Ghvinoze were Legenda Tbilisi,9February 1957). and 2009from theveteran Vladimer(Lado)Sulakvelidze Productions alsocommissioned four works between 2007 small Georgian region,theRussian against empire. Gurias, a was basedonthefactssurrounding thebattle of was about a jealous wife, while Gavardnilebi (‘Outlaws’, 2008) life’s fastpace. Sikharulidze’s ArtRomani (‘Art Novel’, 2009) duced hisnext film,C’estlavie(‘That’s Life’,2009),about Mze (‘sun’). Adventures’, 2006–2007), produced by the TV company Weepy’, 1999–2003) and Kvachis Tavgadasavali (‘Kvachis later directed Poor GharibebiSulTirian(‘The Are Always In 1997,ShadimanChavchavadze, who hadmadethe Bondo Shoshitaiahvili(b. Tbilisi,14September 1939), On his return hedirected Gogebashvili:cxovreba Iakob On hisreturn David (Teimuraz) Sikharulidze (b. Tbilisi,24Novem- In thesameyear, two othercompanies, MIFASI Film The productionThe companiesMIFASI FilmandMK Between 2007and2009,thefilmstudioMaraopro - Tsinda Mela(‘HolyFox’, Fuchs 2009),basedonReineke (‘The Gardener’, (‘The 1975),directedSazgh- Mebaghe Chapter 3:Georgia 173

He 173

Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 bucolic legend. Water Lily’,2009),inwhich Native Americansnarratea by StudioOrbi;andTsklis ShroshaniFirst (‘The Pirveli Gonashvili; commemorating the great Georgian folk singer Hamlet (‘Don’t Leave Me Alone’, 1993);Zamtari(‘Winter’, 1993), dan (‘GetDown from MyCloud’,1992); Nu Damtoveb Mdzletamdzle (‘Insuperable’, 1991); Chamodi Chemi Ghrubli- Peristsvaleba (‘Transfiguration’,was thedirector of 1990); 2012). directedLastLetter’, Ukanasknelicerili(‘The March 1977) Brave’, 2012).Paata Shengelia(b. Gulriphshi,Georgia, 28 2010);andVefxiHorse’, Leopard damokme(‘The andthe Alexander theGreat’s of Story cxenisa(‘The makedonelis 174 175 174 1991)brought newchallenges andhopes. Though ber country’sThe restored- (on21Septem independence Armenia 1999); Studio Kvali anddirected aDream?!’, Sizmaria?!(‘IsThis 1969) worked for (b.Kandelaki Tbilisi, 23 November ’,2005).Mariam theWolf Mglis Aghsareba (‘Confessionof a children’s animation seriesaboutGeorgian history. Mogzauroba Istoriashi (‘Travelling through 2005)is History’, where the air ace Besarion Keburias in public. performed the early twentieth century,House’, 1998)in the Tbilisiof 1961)set his SakhliLkhinisa(‘Festive(b. Tbilisi,4March Unicho DaftSpider’,2005).Irakli Makharadze Oboba(‘The anotherveteran, madethegood lisi, 15December 2008), is thesea’s reflection.Theskythinkstheopposite. lies onitsback,wondering what theskyis–itconcludes it film iscreated from animated children’s drawings.The sea Shavi, ShaviZghva(‘Ponto, theBlack,BlackSea’,2001).The StudioTeleveziri, wasresponsible of for Ponto,chairman the moon. about the origin of an African story Appeared’), feathering; andRogorGachnda Mtvare (‘HowMoon The a French legendaboutwhy thegoldfinch hasbeautiful tale;Chitbatona(‘Goldfinch’),Salty’), aPhilippinefairy story; (‘A LegendAboutWine’, 2007),from apopularGeorgian Critic Sergey Galstyan shouldnotbemistaken for thedirector Galstyan. Stepan By GiannalbertoBendazzi andMariannaAslanyan. mrnIin b uas,Goga 3Arl 1959) Amiran Isiani (b. Kutaisi, Georgia, 23 April aiNnihii(.Tiii 7Jl 1971)directed Rati Naneishvili (b. Tbilisi,17July Revaz Gvarliani (Mestia, Georgia, 5 January 1960–Tbi- the Nodar Begiashvili(b. Tbilisi,13November 1958),

Chapter 3:Armenia Rogor GaxdaZghvaMariliani(‘How theSeaBecame Tsutisopheli (‘Tsutisopheli’, 2001); Ambavi Aleksandre Udzlieresni Strongest’, (‘The 1997),produced 174 (‘Hayrens’, 2009). 2007), Songs’, 2007), Erajshtakan Aybuben (‘Musical Alphabet’, (‘Ancient World Babel’,2007),Chors History: (‘Four Erg for theChildren’, 2006),HinAshgharipatmuyun:Babelon dren’, hamar(‘Astronomy Ereghaneri 2005),Astghagitutyun hamar(‘Geography for ereghaneri theChil- Ashkharagrutyun (‘Foresight’,Hot Dog(id.,2002),Kanghagudhakutyun 2003), Game’,2002),UgigEter(‘Live(‘The Broadcast’, 2002),Hot Armenia. Cinema Centre of cartoon production for the National artistic director of andin2010hebecamethe Armenia, of ematographers Cin- theUnionof nia. In2008hebecameamemberof Arme- now theNational CinemaCentre of Armenfilm, his siblings, NanaandHayk Sahakyants. by Davidwas registered Sahakyants and inMarch 2010 Robert(1840–1911). The Sahakyants Production studio writer Ghazaros tale bythe fairy Aghayan the Armenian wife LyudmilaSahakyants andtheirsonDavid, basedon mats. Onewasthefeature Anahit,directed by Robert’s on five projects withcompletelydifferent stylesand for candlesandkerosene lamps. worked by thelightof out about socialandpoliticalissues. Whennecessary, he anintellectualtospeak cized, feelingthe responsibilities of 2001). Inhislater years hebecamemore andmore politi- and 1994), included were coproduced withstudiosinMoscow andFrance. They hiscartoons Until hisuntimelydeath in2009,many of Yerevan. an animated filmfestival, ReAnimania, wasestablished in tion figured more ofteninanimated filmscripts. In2009 literature,by Armenian but thesocialandpoliticalsitua- French studios. film’s The subjectscontinued tobeinspired continued masters working withRussianArmenian and continued and itsactivity;othernewstudioswere born; there wasnoreal national animation industry, Hayfilm aayns Ihv odsr oso ueyteato my Sahakyants. ‘I have no desire toshow purely theartof Carpet. ‘[Ananimated film] expresses my thoughts’, said Robert Magic Sahakyants while preparing his book The Sergey Galstyan, His filmsincludeAyn Ore (‘ThatDay’, 2002),Khage Since 1992, David Sahakyants (b. 1975) has worked in hisdeath,work histeambegan In 2009,theyear of Robert Sahakyants’s works becamesarcastic andironic. (Sgso theReasonable Life’, nshannere (‘Signsof Banakan kyanqi (‘Singing Figures’, Tver 2008), and HayrennerErgogh Tapan Ark’, (‘The Viktoria (‘Victoria’, 1997), 1997), (‘Elections’, (‘Elections’, Axe’,Katsin (‘The 1994),Entrutyunner 175 filmcriticandwriter, interviewed - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 (‘Wonderful Frog’, 2008)andmini-films for theseriesVes FirTreeElok (‘The Robber’, 2005),Prekrasnaya Lyagushka made Whale’, 1992) in Moscow with Soyuzmultfilm. She also andthe theElephant GreatSlona SKitom(‘The Fight of (‘Alternative’, 1993).EllaAvagyan madeVelikaya Bitva todirecting Aylentrank Clumsy’, 1980),limitedhimself hiscomicshortDzkahord Panose (‘Panos the and fameof Dragon-Carpet’). the of Mystery Gakhtniqe(‘The Vishapagorgi partof first the animation directing course. In2006shereleased the Theatre and Cinema, where she supervises Institute of Since 2003,Martirosyan hasbeenteaching at theState War’,(‘The 2000),andEreq Zangak(‘ThreeBells’,2004). KindGhosts’,1999),Paterazme nere (‘NewAdventures of theOldMill’,1993),BariHogineriNorArkatz - Ghosts of ued hercareer BariVoginere withHinJraghatsi (‘Kind ters’, 1992), about the Armenian alphabet, 1992),abouttheArmenian ters’, his secondanimated film,Tgete(‘Ignoramus’, 1995). Manaryanmade live-action1994). The director Arman mented withobjectanimation inLabirintos(‘Labyrinth’, (‘Merry-Go-Round’).elaya AidaSahakyan Karusel experi - every conflict.’ me but that situation, which wasforcing ustoreact at efforts inmakingpoliticalandpublicityI blame films, not for my tofeelsorry I even vain try life andpeople. Andif become my my biography, attitude towards of thehistory My films chronologically boundinonecollectionhave writetheway I draw, [. . .] I could I would. literature. If the spectator. or Mycartoonfilmsare closetojournalism my directing; my wishismy word toreach drawings orof 181 180 179 178 177 176 at hisdeath in2009. story, 2008). remarkable filmsmadeafterindependence.first Later hemadethe in the animation department at the Armenfilm studioand in theanimationat department theArmenfilm NairaMuradyan an artdirector wasformerly ber 1961). collaborating withhiswifeNaira(b. Yerevan, 17Decem- Galstyan, Kakhardakan,p. 62. Gorg VatyanBy Armen andGiannalbertoBendazzi. thesixteenthcentury. poetof Naapet Quchak wasanArmenian where Saroyan’s Armenia acityinwestern parents were born. Bitlis isthenameof Followed ayear later by Hayots Alphabet’)by Aybubene HasmikPoshotyan. Armenian (‘The National CinemaCentre,Sergey Armenian Yerevan, Galstyan, MagicCarpet], Kakhardakan [The Gorg 2008,p. 60. Stepan Galstyan,Stepan perhapscontentwiththesuccess puppetspecialistGayaneThe Martirosyan contin- Yubik Muradyan directed Hayots Grer (‘Armenian - Let With Ricarski Knight’s Roman(‘The Novel’, 2003),Pohititel Jik yev Jak (‘JikandJak’, 1993)Muradyan started 178 Bitlis (id.,basedonWilliam Saroyan’s short A project calledJohn wasunfinished Silver A project 176 177 oeo the oneof - mankind marching tocatastrophe, Sahakyants madea planet gives acruelandwiselesson totheinvaders.’ The creature. Donotkill. . . become thesametypeof todestroytry alivingcreature, they and are transformed men who appearonanotherplanet,andassoonthey thefilmare space- theprofessionals. heroes The of of Moscow. Itreceived anaward andgottheappreciation was projected in1987at theSoviet Unionfilmfestival in followed by theseriesBiblical Tales (2010). (aseven-episodes series), thePierrots Flightof the seriesThe 2011). In2002shestartedhercareer asaTVdirector with 2008), cading gags. techniques,pattern originalimages, funny scripts, andcas- ignorance. They are alsostunning, withnational colour films are undisguised attacks onstupidity, violence, and myths, and ignoring restrictions, bans, and dogmas. His fans. ing number of hisnation. Each newfilmbecamean eventgrow for his - of agreat artistresponding tothespiritualheritage vision of readings. level,modern Atadeeper they were theoriginal tales followed. sight,they Atfirst seemedtobebrilliantly national Armenian of interpretations whole rangeof A were and transformations beyond gags belief. number of hischaracters; thesheer of follow themetamorphoses animation. Spectatorscould not nian and international thetime. of andthetotalcensorship storytelling ary sug- irreverent, andeccentric.Hechallenged theclichés of Heburst intoanimation –provocative,September 2009. anddiedinYerevan,on 30August 1950 on24 Armenia, Robert inBaku(Soviet Sahakyants wasborn Azerbaijan) Robert Sahakyants Night’, 2002), own Quchak-Noch bestfilmsare Naapet (‘NaapetQuchak- had alsoworked withLyudmilaSahakyants. Amongher From Sergey Galstyan recalls: Sahakyants enjoyed breaking stereotypes, debunking Fox- The Book,madein1975,wasashockbothfor Arme V etotden(‘Onthat Day’, 2010),and Balet (‘Ballet’, The Fox Axe(1994),which depicted The BookuntilThe 179

(Fo h ieo Trolls’,Iz zhinznitrollei (‘From theLifeof 181 ‘Lessonby Robert Sahakyants 180 Chapter 3:Armenia

175 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 Everything isFine(1991). (‘Button’, 1989)andEverything (1982).HedemolishedtotalitarianisminSeghmakojak Story WillTellexamples are(id.,1979)andWho Kikos aFancy tales. Some wittyfilmsalongsidehis Armenian string of 176 185 184 183 182 life(the philosophical ideasaboutthemeaningof instead devoting histalenttodocumentaries. tunately Najafzadanever madeanotheranimated film, FilmFestival.at theOberhausenInternational Unfor repression. In1991thefilmwas awarded thediploma Stalin’s 13 November 1960) isdedicated tothevictimsof Azerbaijan films. 1993 BakuIIFestival-Contest of (b. 1949)received theprize for bestanimated film at the . . made 19animated films.They includedOnceSomewhere Hami Akhundov, aproduction designerandfilmdirector) region.conflictendedin1994. Karabakh The the Nagorno- years for by control of a war with Armenia but wasshakenfor some inDecember 1991 independent Creative-Production nation Union.The becameofficially animation was film department changed totheAzanfilm the ism fortimeintheSoviet thefirst The titleof Union. Azerbaijan animatorsexperienced capital- In April 1990 Azerbaijan time when thecommitteeKharabakh the whole empire isbreaking.’ Notonlyhousesandtowns are breaking,Button. [. . .] but master, andcompletedhispoliticalfilm-pamphlet title of Sahakyants, notyet forty years old,hadalready the gained baijan, which had insurrected, had to return to Armenia. Afterafewmonths, theybaijan, which toArmenia. were hadinsurrected,toreturn arrestedonspecious grounds. aefrteoaino any festival.’ wave for theovation of people yelling.I would not changethat fifteen minutes of thegovernment.film endedtheaudiencewascursing Ten, eagertogive shock.Whenthe thesituation asharp I was thinking that it was risky to do so, but on the other hand was ized presentation thefirst in theCinemaHouse. I theSoviet Unionwasinthecity. of Wethe army organ- http://www.visions.az/art,69/. Retrieved on25October 2010. inTurkish, with equalfacilityandelegance Mehmed binSuleiman Fuzuli(1495–1556)composed poetry Persian, andArabic. National CinemaCentre,Sergey Armenian Yerevan, Galstyan, MagicCarpet], Kakhardakan [The Gorg 2008,p. 60, pp. 64 and66. Some young intellectuals formed this committee in 1988, claiming that the Armenian-inhabited Nagorno-Karabakh enclave Nagorno-Karabakh inAzerSome young thiscommittee in 1988,claimingthat theArmenian-inhabited intellectualsformed ., a political satire, for which its director Vakhid Talybov Again, SergeyAgain, Galstyan writes: Ode (directed by V. Talybov andR.Ismailov) reflects celfilmDedicationbyThe ShamilNajafzada(b. Baku, In the1990s, Azanfilm(whose artdirector wasElchin aaynshmefsaid:‘We finishedthefilm atthe Sahakyants himself

Chapter 3:Azerbaijan 182 ‘In1989Robert 183 wasinjail,and - mostly madeCGIanimation) wasthree tofour filmsa year. films. Azerbaijan film at the1995BakuIII Festival-Contest of Elchin HamiAkhundov won theprize for bestanimated miniature artistSoltanMahammad Tebrizi. Director Fuzuli; thepoetMehmed thebirthof dredth of anniversary animated soundtrack features Beethoven’s OdetoJoy cel- ). The n21,teotu ftheAzanfilmstudio(which In 2010,theoutputof adds: Kazimzada The expertThe Aydin writes: Kazimzada Nasraddin, BasatandTepegoz andothers. Leaf,A Chrysanthemum Sarkar Epic, Dada Qorqud, The Molla created Maharramov . .]Arif animated filmsassociation. [. the film studio. In1988–91he was theartdirector of films, filmdirector andscriptwriter attheAzarbayjan- worked asaproduction designeronlive-action feature . .]In1981–93,he film director andscriptwriter. [. Maharramov, aproductioncinema isArif designer, thekey figures inAzerbaijan’s animated Another of films. who wrote music for thebestAzerbaijani animated Oqtay Zulfuqarov isa famousAzerbaijani composer, . Dreams, and others. . Apprentice, Chase, Dreams . Zari. She animated My Chickens, Rooster andTural and yeva worked at theAzanfilmstudio for some30 years. LionandTwoincluding The Firangiz Quli- Bulls[. . .] worked onmanyDadashov. animated films, He[. . .] famousAzerbaijani actorMammadagha the familyof Dadashov into wasborn HouseintheGlade.The Rauf A HumanComestotheForest; MagicTree The and Saz, RingOut;Stone;Baby HedgehogandanApple; a Jackal;RingOut,My films includingA Jackal, Sonof at theAzarbayjanfilm studio for more than40 years, on Hafiz Akbarov hashis own, uniquestyle. Hehas worked [Quliyeva] Astrologer’s was the artist on The 184 tesm imwsisie ytewrso the the same film was inspired by the works of Sohbatul-esmar isdedicated tothefive hun- Apprentice Astrologer,Apprentice Time for Bed, Joke-1, Joke-2, 185 -

Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 Lapse Pictures studioinAthens. company The hadbeen theTime Athens, 1966)openedtheGreek branch of with rich andimpressive classic drawings. preparation and effort, five of years latter was the result of Dodecaimero (‘A Dozen Days’) by Cristóforos Sotirákos. The screened: chapters from theBible’s book.In1999,two first films were same year, Zachos Samoladás madeGenesis(id.),basedon (‘Stop It!’),apilotfor ananti-smokingcampaign.The dance toChaikovsky’s Nutcracker. The 35 x 50 (id.), in which a pencil, an eraser, and a sharpener Anything’). funny. In2005,hemadeMispetaxistipota(‘DoNotThrow with acaustic,self-criticalapproach, which couldalsobe oi ellines(‘We, theGreeks’). Heobserved hiscompatriots tion techniques, tone. andalightpersonal various two-dimensional anima- ments, acombination of characterized by fastpacing, continuous cameramove- adulthood andresponsibilities. Kostopoulou’s filmsare man isoverwhelmed by apathy, fearingthetransitionto (‘What Will You BecomeWhenYou Grow Up?’).A young two girls. throughin England, theimpressions of livingin Greece and onthedifferentcommentary ways of made animation, cutouts, andcollage. In1993,Kostopoulou a frantic,surrealtwo-minute filmthat combines drawn (‘Lazing inBed’),basedonapoemby Jacques Prévert. It’s Kostopoulou matinée madeLagrasse andSylviaBringas Cycle’) highlighted forced labourinabarracks. Natalia solutions. agencies were to cheaper, now turning less demanding ing tosurvive through commercials, found that advertising ditional animators, who were already sidelined and hav - entereddigital technology thefieldwitha vengeance. Tra- animation). Around thesametime, though, supporter of Cinematography, theHellenicCentre of andastrong of enlightened writerPavlos Zannas(who wasthepresident the causewasthedeath,ent to‘cartoons’.The in1989,of Around 1990,theGreek state becamesomewhat indiffer Greece 186 By Michela Morselli. In 2001,Panagiotis RappasandNassosVakalis (b. In 1998,Spiros Siákas(b. Arta,1967)madeKops’to sameyearThe Spyros Rasidakismadehisdebut with In 1996, the indefatigable Iordan Ananiadis made Mas In 1997,Kostopoulou madeTitaghinisotanmegalonis? In 1992, Nikos Koutsis (b. Athens, 1972) in Vrite tin diaforá (‘Find the Difference’) by herself, a otnaino Genesisby Zachos Samoladás, and Continuation of 186 Kyklo (‘The - international projects.international Greek animators, who found theopportunitytowork on Time LapsePictures becameameetingplacefor thebest animated films for cinema, television, and the Internet. productioncessfully collaborated ontheinternational of founded in 1999 inLosAngeles. two The branches suc- animation, pixilation, anddrawing onpaper. (2005),which Stage usedpuppet Mirror in moreby depth The matched andcombinedvarious techniques. Itwasfollowed tic drawings, rendered withdetailedcolouring;thefilm Greeks. theancient Greekrary people, appealingtothementalityof satire Arkeuli’), oncontempo- asharp Symposiumof (‘The (2009). Forever (2008),Toujours Girl withNoHead (2009),and The nou (a.k.a.Ion):ElectricPoem 1 (2008),StaywithMeinDreams AngelikiVrettou with Iannis Papaioninclude the work- of live-action, drawn animation, andcollage. Une saisonenenfer. Hisfilmsoftenmixtechniques, including ing and inDüsseldorf, madeseveral Germany) films, includ- LewisCarroll. cutouts, itreflects theabsurd atmosphere of collaboration withVangelis Georgakopoulos. Madewith Alice (2007)wasAkriviSimeonidi’s film, animatedin first tagonists are justoutlinesfloating inthe music. MyDollPlays disguise, withvibrantdrawing. Inthefinaldance thepro- Metamfismenos Erotas (‘Love inDisguise’),alove encounterin Athens, 1971)describesevolution onEarth. tinos Katrakis(b. Athens, 1971)andPanos Kalsachnias (b. Development’) by Konstan- Circle (‘The of tisexelixis kyklos fires andtheGreek giant Pari, who protects the wood. O sance by Nikolau Petropulea, an ecologicaltale about forest Siakas, hemadethespotfor the2005COJIIslandgames. with considerable success. working In2005,again with andlater worked Stage inGreeceMirror andGreat Britain, trials who show upinherroom. 3D computeranimation: agirl befriendstwo extraterres- from OuterSpace’)by DimitriPatrikiu Greek wasthefirst skyscrapers. In2003,Ifilimutadiaskimakia(‘MyFriend Rasidakis, a lone pigeon tries to escape from smog and In 2002,DimitrisVorris directed StosimposiotuArkeuli In Music videosinGreece oftenusedanimation. Examples Angelos Spartalis (b. up in Crete, 1973; he grew Greece In 2006, Angeliki Salamaliki (b. Patras, 1983)made Nui- aBurning LittleFableFilms from 2005includedThe of Stelios Polychronakis (b. Athens, 1972)animated onThe Erato, which waslooselybasedonArthur Rimbaud’s (TeLwo Gravity’) by Spyros LawO nomostisvaritatas(‘The of osrcino Citizens by Moatsos Michalis (2008) of Construction Star system(id.)by Spiros Siákashadexpressionis - Chapter 3:Greece

177

Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 178 192 191 190 189 188 187 filmisananimated‘This choreography.’ society’s violenceonchildren. chological impact of violence. With nohappy ending, Tutu condemnsthepsy- the cityanditsinhabitantsdevour himinawhirlwind of images. young The Tutu lives inaneighbourhoodParis; filmhassaturatedDalet. The andwide-angle colours thewoman. they were thenerves of as if through theflickeringlight,andthrough linesthat vibrate liness ispalpable through thedark coloured drawings, City’), aboutawoman who lives withhercat.lone- The since 1980.In1994,SifianosmadeOdeurdeville(‘Scentof Crete, on14August 1952, andhaslived inParis island of Yiorgos inKhanyá, (George) Sifianos wasborn onthe Sifianos Yiorgos based onmusical principles. Thereare two actors e er 19–07,teQKalctd7000ersfr3 nmtdpoet,oto attlo 132projects. atotalof ten years (1997–2007), theQKKallocated 700,000euros for 35animated projects, outof the FEMIS, andabroad. ENSAD (Ecole Nationale Supérieure des Arts Décoratifs), Paris VIII,at CFTGobelins, at the at theUniversity of tionship between manipulated andmanipulator. two reflect puppetsonstage;theopposingpairs rela- erBlock.net. Cola, Honda,andKaterinaMyrianthopoulou’s Design- Sea, which offered qualityservicestoActionAid,Coca commercial work. AmongthebestknownGreen isDeep Offenbach’s Barcarolle) andshortsfor Greenpeace Greece. motion design.ItsoutputincludedMetamorphosis(basedon studiomainlydealtwithcommercialsin 2008.The and Design House 1970) founded the Athens studio Myrmigi (b. Limassol,Cyprus, 1980),andIannisBartzis(b. Athens, summarizes artintwo contemporary minutes. at theBalkanimafilmfestival with IDoArt(2007),which theEuropean Sixty-Eight. wrote duringtherebellious eraof theManifestothat E.A.Rauter is ananimated version of l hsso filmmaking were censored, from scripttodistribution. All phasesof toBertrandShijakuforThanks hisinvaluable helpwiththischapter. By Michela Morselli. Ulrike Koennecke-Bennet andRobert W. Bennet. enanimation’.‘Ce filmestune chorégraphie Seehttp://filmcestmoa.free.fr/pagefichetech.html. h etesproews‘rmtn n uprigalgne’adt ehnetecmeiieeso Albaniancinema abroad’. In centre’sThe was‘promoting andsupporting allgenres’ purpose andto‘enhance thecompetitiveness of C’est Môa(‘Ego’)wasreleased in2007.Sifianosays, In 2001,hemadetheshortfilmTutu (id.)withPascal In hiscapacityasascholar, Georges Sifianoshastaught oesuisoee nAhn,ms fwhom made More studiosopened inAthens, mostof Myriam Levis (b. Athens, 1981),Michael Toumazou Stelios Polychronakis won theBestNewDirector Award

Chapter 3:Albania 187 Itsstructure is 188 and grafisë, QKK) Cinematography (QendraKombëtare andKinemato- of theAlbanianNational Centre panies. On29April 1996, tem wasreorganized withnewprivate production com- Itfinallyclosedin1996. Library). film-Animation; Albafilm-Distribution; andState Film Film (dividedintofour sections:Albafilm-Studio;Alba- Albania’), founded in1952.In1991,itbecameAlba teed by thefilmstudioKinostudioShqipëria e Re (‘New systemhadbeenguaran- ended withcapitalism.The guaranteedthemajob–guaranteethattice). This censorship thatcensorship self-censorship (clearly –indeed,there undercensorship wassomuch forced animation tomakea film a filmmakers year ism produced asocialcrisis. Until1991,thestate had capital- 1992. As usual, the sudden advent of March CommunistThe regime in Albania ended in Albania ‘ir faBlackCat’). of (‘Diary vals. same year The also saw Varfi’s Tailless Fox’, 2007)wasapuppetfilm,appreciated at festi- a Pumpkin’). Bishtëprerat (‘CutTales’, alsoknown as‘The Promise’), followed by 2005’s (‘IHave Kamnjekungulleshke usurper’s fate willbeinevitably thesame. tion Studio. by A cockerel is deposed a newcomer, but the Change’),produced (‘The byNdryshimi Pegasus Anima- by Studio 4+1. In 2003, he used animated Plasticine for roi lekure (‘And theSkinWas Changed’,2001),produced (‘ItHappensLike This,keshtu Too’, 1996),andDhe Nder films, includingEkstremistet (‘Extremist’, 1994),Ndodhedhe mators withinthecountry. however, there were more trainingopportunitiesfor ani - in foreign filmschools (Romania, Italy, andGreece). Later, mation inthe1950sand1960shadstudied were born and equipmentwasupdated. with France). Production increased andde-provincialized andfacilitatingfilmmakers many coproductions (especially eido stagnation followed, duringwhich thesys- A periodof The followingThe year, Varfi ’s Wolf madeBeseujku(‘The 1954)directed many Gjin Varfi (b. Tirana,14May post-Communist Albanianani- of mainauthors The 189, 190 192 opened,givingadditionalfundingto 191 wasacommonprac- Ditari i një maceje të zezë - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 him orherself. Itisacut-out,hyper-decorative film. Moon, a parallel world where everyone finds a copy of cess andtheMoon’). little princessDeatravels The tothe Faja, hemadethe13-minutePrin- Princeshadhehena(‘The mated by StefanTaçi Faja. andErgys In2004,stillwith film combinesasimpleconstructionwithcomplex rhythm. ground. Love andhate coexist inaseductive dialectic.The isdrawn withablack vibrantlineonawhitescorpions back- produced between by two Art Grishaj Studio. A love-fight 2002),codirected Faja withErgys Scorpions’, and Time of Love (‘The important film wasKoha e dashurisë së akrepave animator-painter at AlbaFilmAnimation Studio. Hisfirst director, writer, producer, andartist.In1996hewasan 193 through lifetodeath. tion that leadshimtopaintabridge, representing thepath plates hisblank canvas. inspira- We follow thethread of Pegasus paintercontem- Animation Studio. A live-action Ura Island’, 2006)andLakmia(‘Greed’, 2008). throughugliness morphing. Nova later madeIshulli(‘The DevilishLoja edjallit(‘The Game’),which human considers (‘The Woodsman (‘The druvarit Ballad’); In 1997,hecollaborated withRikarda Nova onBaladae black andwhite live-action. with AdrianÇene, usingframe-by-frame animation and garde with Zhani Terpini, he directed and produced the avant- Nightingale by In 2007, together Hans Christian Andersen. Emperor’s andtheKing’),basedonThe Nightingale (‘The Dashuri nekaterstinet(‘Love inFour Seasons’,1997)and Adventures’, 1985; Portreti, 1988).Inthe1990s, hecreated active inthe1980s(Aventurat ereja tePikut,‘NewPiku’s master. In2007,Taçi madeFluturaButterfly’). (‘The the Fauvist over the screen, combined with footage of HenriMatisse’s themesswarms a colourfulanimation of with apainterpreparingtowork inhisParis studio. Slowly, nian FilmFestival. Itopensinblack-and-white live-action, award for bestfilm(all categories) at the National Alba- its author’s mood.Taçi’s 2006filmLesfauves(id.)won the zimi (‘Composition’). Its non-sequential narrative followed Produced by AlbaFilmAnimation Studio;BertrandShijakuwasamong theprincipalcollaborators. In 2006 Shijaku directed the tender Bilbizi dhe nibreti In 2003,Shijakuproduced and animated Lesfauves,ani- 1968)wasa Bertrand Shijaku(b. Tirana,11January Stefan Taçi, active from the 1980s, made 1992’s Kompo- 1958)made Artur Muharremi(b. Pogradec, 2 June ry aagautdfo h cdm fArtin1992. FajaErgys from graduated theAcademy of Artan Maku (b. Tirana, 11 August 1954) wasalready Artan Maku(b. Tirana, 11 August 1954) (‘The Bridge’,2004),asuccessfulfilmproduced (‘The by (‘The LastDay’).Dita efundit(‘The In2008hemadeTattoo 193 and again in1999on andagain through aman’s memory. kanima festival. Kaso’s Kamioni(‘Truck’, 2008)takesus styleindrawingsexperimental award graphic at theBal- vainly tostoptime. Itwon theSpecialDiplomafor the with force likeatsunami. Xuvani). destroys Corruption humanconsciencewitha with One’s Match’, 1997).In2008hewon many awards the Frog (‘To koken King’, 1994) andSipaskapeles Find Femija im,princ’ibukur (‘MySon,MyHandsomePrince’). in 2004.In2006DautiadaptedaGrimmBrothers’ talein Days’) followed in2002,andMetamorfoza (‘Metamorphosis’) a train ride. Nentevjetenente dite (‘Nine Years of and Nine confidently through thewaves. not move. Atthesametime, however, abottleadvances theocean,but itdoes in anoldsailboat inthemiddle of sensus (‘Consensus’,1999).Inthelatter, everyone isbusy he directed Marionette’),followed Marioneta (‘The byKon director at theAFA Studioand the4+1Studio. In1995 nography branch). Hebecameaneclecticanimator and FineArtsinTirana(picture andsce- from theAcademy of children. AniFestRozafa, which isdedicated toanimated films for goodandevil. is unable todiscern GiantandtheHunter’,2007),man Divi dheGjahtari(‘The falls through Human Passion, Desire, Good, and Evil. In Times’, 2005), a TV set (‘Modern tion. In Koha moderne shkretëtirë (‘MirageintheDesert’,2003)discussesaliena- is aboutarock dissatisfied withitsimmobility. Mirazh në to life. puppetanimation The Kërkoj(‘Seeking’,2002) cutter’), inwhich astonemasoncreates acouplethat come Productions. (‘Stone- In2001Makudirected Gurëgdhendësi collaborated withstudiosinGreece. Fotografitë Photos’,1999).Duringthe1990s, (‘The healso h eiciy(opti idy fTVexecutives and the mediocrity(toputitmildly) of the public and opinion makers, indifferenceThe of Italy Ilir Kaso (b.Ilir Kaso Permet, 1982)enjoyed somefamein2005 Shaquir Veseli directed BibateMbreti(‘Bida, iBretkocave In 2000,Dautidirected Tuneli Tunnel’), (‘The thestory Artur Dauti(b. Tirana,13November 1957) graduated In 2010ArtanMakufounded anddirected theevent In the2000s, however, hebuilt uphisown studio, Maku Tsunami (id.,codirected withSirge Veseli andGjergj Biramel (‘Snooper’), in which theprotagonist tries Chapter 3:Italy

179 - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 Blues, onNanda’s Road’) directed by Teresa Marchesi. Nonetheless, talentcouldn’t becompletelyeradicated. artists gave up before getting started or migrated. tions of Italiananimation. Asaresult, two genera- development of the Caroselloing format allwere inthecessation factors of theTVadvertis- producers, andtheextinction in1977of Thing’, 2000),andLapiccolaRussia(‘LittleRussia’,Thing’, 2003). vivi èlastessacosa(‘BeingDeadorBeingAlive Is theSame nel (id.,originaltitleinFrench, 1993),Essere mortioessere mum intensityandcompleteness inToccafondo’s Lecrimi- approach thePig’,1992).The reaches itsmaxi- Track of Track’,La pista(‘The 1991),and La pistadelmaiale(‘The Tail’, films:Lacoda(‘The first 1989), Boxe (‘Boxing’, 1990), andChiesa. Pierri, and Guidi).Ontheotherare theself-taughtFerrara, Urbino(Toccafondo, Catani, Massi,Ottoni, Artof tute of On one side are the directorswho attended the State Insti- art.Butadifference dividesthemovement. movement of movement andthe a truecomparison between theart of thefigures. Inthese works create theauthors expansion of boundaries, andthe lengthening shadows, theblurringof characterized by forms’, of ‘incessant metamorphosis animation. neo-pictorialstylemightbecalledthe The to paintingtechniques, which were usedasthebasisfor they created real ‘moving pictures’ withexplicit reference andAndrea(b. Pierri April 1963), Turin, 26August 1968). (b.Cerri Pesaro, 7August 1978), ElenaChiesa(b. Genoa,6 MagdaGuidi(b. Pesaro,ruary 1975), 28July 1979), Mara Massimo Ottoni (b. Fano,Pergola, 23 May 1970), 9 Feb- Roberto Catani (b. Jesi, SimoneMassi(b. 12March 1965), 1961), Ferrara 1965),Ursula (b. Pisa,28May 6 March neo-pictorials were GianluigiToccafondo (b. SanMarino, evercountry gave toanimation. Amongtheoutstanding pictorial current’,theonlydistinctive, originalinvention the ol findependents, by what criticscalledthe‘neo- world of 1990sand2000swereThe characterized, inthefragile The Neo-PictorialCurrent 180 194 ‘w fHearts’, 2001),and3sogni(‘3Dreams’, 2001). (‘Two of 2003), asdidMassimoOttoniwith 1998(2001),Duedicuori also contributed to the style with Piccola mare (‘Little Sea’, Tightropefunambola (‘The Walker’, 2002). SimoneMassi Rite’,1998),and La (‘The Goldfish’,1995),Lasagra (‘The In 2011 Ursula FerraraIn 2011Ursula contributed three beautifulscenestothe live-action PivanoBlues, documentary sulla strada diNanda(‘Pivano Roberto Catani contributed to the style with neo-pictorialapproachThis withToccafondo’s began theseanimatorswasthat commonfeature first The of

Chapter 3:Italy Il pesce rosso

Walker’, where piles of letters and papers rainfrom andpapers thesky letters Walker’, where pilesof but withtherelentless movement we barely read them. floating sentences or in letters somewhere, fragments of inability tocommunicate conventionally. We seewords, in cipherable sentencesflashing over thescreen show the images. Broken locutionsand almostinevitably unde- of uses words, writtenandspoken,insertedintotheuniverse getaway inrealmovie gangster style. movement The also existential andintrospective journey. InLecriminelitisa thePig’orPinocchio (1998)theescapeisan Track‘The of is escape, expressed mostintenselyby Toccafondo. In ing’, allmadebetween 1997and2004. Guidi’s ‘Here, ItIstheTime’,andFerrara’s ‘Almost Noth- includeOttoni’sFilms aboutindividualmemory 1998, memories. refuge inherpast, balancingonathread of Tightrope Walker’ (Catani’s awoman takes masterpiece), theruralworld. In‘The the centuries-oldtraditionsof san warfare. Catani’s Rite’ Goldfish’and‘The reflect ‘The anti-Naziresistance andparti- linked totheexperience of posizione (‘I Hold My Position’, 2001) by Simone Massi is the present, which stiflesand restrains thinking. Tengo la the pastallowstoescapefrom the authors thecertaintyof experiences from which todraw. of baggage Reflecting on view, asa both from andahistoricalpointof apersonal digital colouring. Chiesa and Andrea used computer animation Pierri and oured withcrayons, chalk, graphite, andcharcoal. Elena preferred toanimate handmadedrawings on paper, col- ally, frame-by-frame. Massi,Catani, Ottoni,andGuidi lized herown oilpaintingsthenanimated them tradition- Ferrara it,andthenpaintedonit.Ursula deforming uti- distorted theimagewithphotocopier, stretching and photocopies. Startingwithapreexisting realistic base, he by Toccafondo. 2003)–hedeclaredglish, openlythat hewasinfluenced found inAndrea Pierri’s Moon(id.,originaltitle in En- (id.,2006). Match’, 2002),andNews Cinque stanze (‘Five Bedrooms’, 1999),Lapartita(‘The in hercolourfilms:QuasiNiente(‘Almost Nothing’,1997), Ferrara, Ursula especially aloof, work unconformable of tity’, 2003)andEcco, èora (‘Here, ItIstheTime’,2004). Magda GuidididthesamewithNuovaidentità(‘NewIden- This isespecially trueinCatani’sThis Tightrope ‘The Another constantfactorintheneo-pictorialnarrative is understood In the neo-pictorial current, memory retouchedToccafondo basicallyusedthetechnique of Even more significantly, thisapproach is found inthe 194 The styleisalso The Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 the chick, who of course thinkssheisakittenherself. course the chick, who of until thechick her egg hatches, andthatteach he’ll thebaby seagulltofly.that takecare he’ll of Allthecats at theport eventually adopt Blue Arrow. deliver theChristmasgifts. Hertreacherous assistant Scarafoni ispoisoningher, but theundelivered toys rebel, includingatraincalled Figure 3.29 198 197 196 195 Walker’, 2002. Dario Fo. by DanieleDiGregorio, narrated by Giancarlo Giannini. (TeMmre fthe Memoriesof 2004), Lamemoriadeicani(‘The I Am’, tor, makingsuch classicsasIosochi sono(‘IKnow Who known andmostawardedinternationally Italiananima- compromises.accepting Eventually he became the most integrity, Massidevoted hislifetopure creation, never total canto. asingle Anartist,intellectual,andman of of a large poeminwhich thefunction every filmperforms est, mostlyrical,subjects, andhiscompleteworks form and politicalcondemnations. latter The two are hisdear film language, nostalgia for peasant traditions, sense of cates realism withabsurd travellings, an extraordinary opoesie di/perFelix Dennis(2006–2008). tion withtheBritishpoetFelix Dennis, intheseriesVide- early maturity 1990s. camewithherassocia- Herformal pictorialpixels’, which sheinvented inthe ‘dissolution of into films.The technique that characterizes her work isthe herpoems Bologna. Chiesaisalsoapoet,andsheturns in and wasshown in 2001at theGalleriad’ArteModerna Her Tooker thefilm. reads atext, Moon,marking therhythm of lini. InPierri’s Moon,avoiceover by thejazzmanWayne PierPaolo Paso- is rich inquotations from of thepoetry in ‘BeingDeadorBeingAlive which IstheSameThing’, like white snowflakes. Toccafondo also plays with words The Story of a Seagull and the Cat Who Taught andtheCatWho aSeagull . A mother HertoFly seagullisdying;From a soft-heartedcat promises Luis Sepúlveda’s of novel Story The From SantaClaus)issickandcannot by ashortstory GianniRodari goodwitch (1920–1980).The Befana(afemaleItalianversion of 2eioe fseven minutes each (2009).Script by Vincenzo Cerami,drawings by of Pipì PupùeRosmarina , 52episodes AnnalauraCantone, music They included the designer and background artist Paolo Cardoni, the musician Paolo Conte, and the voice Lella Costa and actors Simone Massi’s work isoutwardly simplebut compli- ElenaChiesaare projected inmuseums. worksThe of freely interprets fourpoems freely contemporary Video Poetry interprets

Roberto Catani,Tightr Lafunambola,‘The ope - ica madethefeature filmLafreccia azzurra illustrators, designers. orgraphic to work on.Almostalltheneo-pictorialsare alsoartists, trol over every step, sometimescreating thematerial itself craftsmanship. They startfrom scratch andhave fullcon- theirexperience. For them,animation is dimension of mon stylisticbasis, yet theirwork alsoreveals thesolitary 2012). (‘SoftlyFlows’, dilaga Pig’, 2011),andLieve, Dogs’, 2006),Dell’ammazzare ilmaiale(‘About Killingthe lowed: lar success. In1998,aneven more successfulfeature fol - with skillandalighttouch. Itwasacriticalandpopu- TV series. stood abroad. tastes –andtoospecificallyNeapolitantobefullyunder set in Naples, was probably too intellectual for children’s to mixed reactions. Opopomoz (id.,2003),anoriginalstory completed by anotherproducer but wasreleased in2001 dal hitthecompany andafumingD’Alòleft.Momowas (‘Momo’, basedonMichael Ende’s book),afinancialscan- animated feature films ever.ian director of children communicate. Hecanbeconsidered thebestItal- children’s workshops taughthimhow His experience of thefilm). soundtrack (probably thebestachievement of jazzmusician, D’Alòtookgreat care withthe A former h ietro thebrilliantshortOrpheus,1986)was the director of tum. MaurizioForestieri (whom we metinVolume 2 as producer MariaFares, but itlostitsinitialcreative momen - between Pinocchio andGeppetto. sprightly, thefilm focuses onthefather-son relationship at theVeniceAugust 2012 FilmFestival. Captivating and be completedfour years later. world The premiere wasin coordinated someoutstandingcollaborators ber 1953) Arrow’). Director Enzo D’Alò(b. Naples,- 7Septem In 1996,theTurin-based Mag- company Lanterna Neo-pictorial directors can be identified by their com- ntefloigyasEz ’l eoe isl to In thefollowing years Enzo D’Alòdevoted himself Momoallaconquistadeltempo During themakingof atraMgc etgigudrtelaesi f of going under the leadership Magica kept Lanterna La gabbianella eilgatto 198

Pinocchio went intoproduction in2008,to 197 (‘LuckyandZorba’,1998). Chapter 3:Italy 195 (‘The Blue (‘The

181 196 -

Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 audience with Andrea Zingoni’s characters. frenetic drawings couldn’t save anuninvolving and story 2003) wassnubbed by criticsandaudiences. Forestieri’s the Pizza’, pizza (‘Totò Sapore, of ortheMagicHistory new creative hope, but hisTotò Sapore, storiadella olamagica directed by MaurizioNichetti [b. Milan,1948]), &Gliz(‘Neve andGliz’s Adventures’, 2005, ture diNeve - (‘Gino theChickenLostinNet’,2006)andLeavven eea n h iteBohr fItaly’). General and the Little Brothers of completed thefeature IlGenerale eiFratellini d’Italia(‘The cione). In2011,EnricoCarlesi (b. Alessandria,1950) as ‘rteso Italy’isItaly’s nationalGaribaldi. anthem)tohelpGeneralGiuseppe (‘Brothers of 182 204 203 202 201 200 199 Figure 3.30 One, wasalsoscreened with great successonDisney Channel France. 26 minutesTeen each), produced by Cartoon inamusic Days, aboutteenagers school (forof apreteenseries(26episodes audience).This SignorRossi nontroppo , yet hehaddirected andAllegro animated films. He repeated the experience in2010with the various adventures of tion, andnational history. atiny budget withhumour, imagina- made themostof and back designerPaolo BlueArrow Cardoni from The Italics intheoriginal text. Catalogue for theRazmatazpaintingsexhibition, Concerto, Bologna,2000. theprotagonist, an Americanblack dancerwho goestoParis toperform. Razmataz isthenicknameof in1955. inFlorence Born A masterfulslapstick-stylecomedianandagifteddirector, Nichetti’s love first wasanimation. Hehadwritten for BrunoBozzetto on In the film, a dog and mice go through battles, sea trips, ballooning, and the founding of the secret society Little Brothers of Italy thesecret societyLittle Brothers In thefilm,adogandmicegothrough battles, seatrips, ballooning, andthe founding of Lanterna Magica turned to TV series, captivating Magica turned their Lanterna Matt & Manson(id.,2009,directed by Gregory PanacMatt & -

Chapter 3:Italy

TeMmre ftheDogs’,2006. Memoriesof Simone Massi,Lamemoriadeicani,‘The 199

Gino il pollo perso nella rete 201 Carlesi called 200 aswell man, Carlos Gardel, ItalianoperaandNeapolitansongs, 1920s, DukeEllington,George Benny Gershwin, Good- Dada, Futurism,Jazz, the Swing, theFrench songsof ‘vaudeville’ film Razmataz. jazz singerandpianist,apainter. In2000hemadethe 1937)wasasuccessfulsongwriterandperformer, a ary mixed issetin1920sParis). withnostalgia (thestory energy and drawings. filmhasan The atmosphere of dominates while thecameramoves onthestillpaintings 140minutes, distributed onDVD only,tion of themusic a storyboard withsoundtracktively’. asastoryboard work- shouldbetakenasanillustrated radio serial,oralterna to pretend that cinema hasn’t yet. Inother words, been invented the between oldEurope andyoung black music. We [. . .] have It isanenchanting, elitistmusical kaleidoscope. Itmixes A multifaceted creator, Paolo Conte(b. Asti,6Janu- ‘It is a story’, wrote‘It is a story’, Paolo Conte, 202 In this audiovisual produc- 204 203 ‘aboutthe meeting Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 her opportunities in metamorphosis, transformation, and transformation, her opportunitiesinmetamorphosis, Plasticine animation gave a still shape. discovery The of 1960s. Educated asasculptress, shewasnever happy with in 1937 and settled in Italy in the earlyShe was born anthology DVDsanthology Animazioni(2010)and2(2012).They wrote thefollowing linesfor thisbook: (1959–1962). Earth Magic Alexeieff’s sics such asBertoldBartosch’s L’Idée (1931),Alexandre to experimentation that created new soundtracks for clas- Venturi, Giovanni wasanensemble OscarUrso) devoted tignoni, Mario Martignoni, Diego De Vincenzi, Marco Roger. HisCompagniad’ArteDrummatica (Andrea Mar suchCanadian masters asPierreHébertandNormand animated oftencollaborating filmsandperformances, with animation. He was an excellent musician for avant-garde events involving worked asapromoter andorganizer of atruepoet. thelove of because of quotingandassembling, but intellectualpleasure of ern Edith Piaf, andGeorges Brassens–notfor thepostmod- 208 207 206 205 e a aet re o S,teT opn f h tla-paigCno Sismme tt)o Ticino. theItalian-speakingCanton(Swiss memberstate) of Peo wasmadetoorder for TSI,theTVcompany of protagonistThe isadog, though itsnameinItaliansoundslike‘moley’. Itwasmadetoorder for theJapanese TVcompany NHK. Made for foreign companies. Andrea MartignoniandcolleaguePaola Bristotscoutedyoung animation independent andthenself-produced andfinancedthe We have already mentioned Yusaki Fusako (see Vol. 2). nraMrinn b oon,1 etme 1961) Andrea Martignoni(b. Bologna,19September with graphics in asoft,poeticway.with graphics sheets, photographs, and collages in works based on his research on stage design. Marco (2005), by Ignazio Morello, links illustration Imhoff animators intheirshortL’insalata Devil’s (The deldiavolo Salad,2010).Musicclips, andvideoartare videogames closely linkedinIgor pay homagetoJan Švankmajer andtheQuay Brothers in Contrappassouno(2005).AliceandStefanoTambellini prove themselves skilled Maya Deren andthe1920savant-garde. Massimo NibaBarbiniandMatteo Giacchella(2007), ChiaraAmbrosio imitates thestyleof (2011) by Saul Saguatti and Audrey Coïaniz, for whom animation is merely one multimedia research field. In 2009) shows hishighquality. Cinemaandphotography inBasmati’s intersect Transit City02:RomaAstratta (2008),andCorpusNoBody asapivotal figure invisualarts. HisCisonogli spiriti(Ghostsare here,contact prints–very closetorayographs –hasestablished himself printed onpaper. protagonists The float around a black and white metaphysical dimension.Alvise Renzini, withhis experimental Big Boom(2011).Hemoves alonganoversized space, withamazingresults. J(2009)by Virgilio Villoresi isbasedonfilmedmaterial ironic, for theunmadeseriesSidannoalcrimine. 2008,Ivan ManuppelliChina toItaly. andGianlucaLoPresti produced aTVpilot,Aztokitifk & Mario,wackyand Atthebeginningof interview withLongxing, thefilm’s main hisjourney character,from who cooperates withtheItalianpoliceandgives anaccountof afilmon MilaneseChinatown.The storyboardisbasedonan Sergio Basso’s GialloaMilano(Police inMilan,2009)ispartof Mystery MauriceRavel’szani’s Deuxrobinet coulent,afragmentfrom excellenttheoperaL’enfant adaptation of . Lorenzo Latrofa etlessortilèges and a speciallabyrinthine flip-bookwith extraordinary narrative branches. Arithmétique(Arithmetic)isGiovanni MunariandDalilaRovaz- (2004).His CubeVideogioco(Videogame, grotesque inLove 2009)is animated puppets. Donato Sansonehadalready disclosedhissenseof drawn rotoscoped film, where odd creatures and symbols distort reality. In Guardrail’s Phobias, 2011)have strong imaginative power. SodoesAlessiaTravaglini’s Silenziosa-Mente(SilentMind,2011),ahand- Silence, 2010)andMarco Capellacci’sVirginia debut Lefobie Mori’s delguardrail (The pencildrawingsGameof inIlgiocodelsilenzio(The Linea by Cavandoli. Inhismostrecent works, SenzaTesta (Without Head,2010)andDjuma(2012),hedeveloped technique. a refined travelledMichele Bernardi from aclassicanimation styleinhis 1980scollaborations ontheanimated seriesLaPimpaby AltanandLa The outsider Blu producedThe two animated films based on his giant metropolitan mural paintings, Muto (Silent, 2008) and Big Bang

’s Percorso0008–0209 (1963), and Harry Smith’sLe Nez (1963),andHarry and Heaven 205 (2009)andPercorso0009–0410 (2010).NicolaConsole’s Diecicadute(Ten Falls, 2012)uses drawings onplastic - leswovstorpae.Tefrtsre 2 psdso episodes of series(26 aliens whofirst visit our planet.The style. verse, withoutever losingcontactwithYusaki’s own visual to Klee. viewer The getsinsideeach painter’s visualuni - art,fromtemporary Van GoghtoPicasso, from Hokusai con- of masters tons. secondisavividexploration The of the TVseries. but sheachieved herbest results inanunlikelyfield: EmileCohl. herstyleisthesameasthat of essence of change over time. Inshort,the flowthe uninterrupted of and 2008–2009). two minutes each, 2004–2005,2006–2007, sodes of - 1997–1999 and2000–2002)Peo (id.,39epi Gallery two minutes each, (‘Peo inSwitzerland’, of 26episodes theseriesPeo inSvizzera became theprotagonist of didacticfilms who then created in1995for aseriesof game. Talpy’smetamorphic/nonsense twinwasPeo, one minute each, 1991–1993), a merry of 60 episodes The first seriesisatourthrough first the26HelveticThe Can- From 1991to2006shemadevarious didacticshorts, Naccio & Pomm isnamedafteritsprotagonists, two Naccio & (id., 2008), Beatrice Pucci worksImago with sophisticated 206 Her first miniserieswasTalpy Herfirst 208 h ore fthe Birdboy of Journey The Chapter 3:Italy 207

(id., 183

Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 http://www.ippocrene.com/2007_to_2010/index.php?option=com_content&task=view&id=1063&Itemid=202. tator who knows how towatch.’ white toblack) –give extremely highemotionstothespec- are abstractbut distinctlydesigned,andconsistent (from faces, andintertwinedbodies–inimagesthat themangled where aworld suffering appears. The higherthanours Mozart’s no’s Op. KV626W.A. Mozart (2012). –Requiem theauthor’s life:Aeterna that tooktwelve years of anambitious(andsplendidlysuccessful)feature project of 184 210 209 intense poeticfeeling.’ inspired by Mozart’s RequiemKV626,givingtheimagesan sis, theslicedfleshbecomesdigitalpainting.The filmis donated toscience.- ‘Through continual metamorpho (amanandawoman), two corpses imagesof graphic sequent film,Recordare (id.,2009),wascreated from tomo- films: the Threshold’,1996).In2006,hemadethree Mozart Pentesilea (id.,1994)and he transposedhisuniverse intofilms, winningacclaim for styles andtechniques inasemiabstractway. Inthe1990s tinguished painter, ceramist,andengraver, who combined animatedthe first feature films. First AnimatedMovies(2007),abouttheArgentine who made the made adocumentary, of Mystery QuirinoCristiani–The by SamFell andRob Stevenhagen, 2008).Zucchelli even Desperaux (directed Tale thefamilyfeature The of mation of elitist shortFor aTango (2004)andalsosupervisetheani- in Londonsince1994).Hecouldmakethesensitive and Gabriele Zucchelli (b. Pavia, but active 22January 1972, Jarry, but itwillprobably outragemany viewers. and deep. Itisagoodfilm by anewRabelaisor The a fittingsoundtrack.world that it evokes isinnovative and Crudité’), is well designed andhasperfect timing and ings’ excellent taste. Its1914remake, Pene (‘Penis ecrudité malegenitalia;iteschews thankstothedraw vulgarity - of variations onthetheme mischievousan elegantly seriesof is thin,strong, andsinuous. HisfilmPene (‘Penis’, 2007)is hisgeneration. Hisstroke ably themostgifteddesignerof TV company NHKin2003–2005. five minutes each) wasproduced toorder for the Japanese Vinny Scorsone, ‘Recordare, film diLeonardoeAlessandro Carrano Pierattini’, Ippocrene –ArtieLettere , retrieved on8September 2011, Catalogue festival INVIDEO2012video ecinemaoltre, Milan, 8/12November 2012. Composer Ennio Morricone wrote:Composer EnnioMorricone ‘Leonardo- Carra Leonardo (b. Carrano Rome, wasadis- 23July 1958) No less versatile, but stylistically very different, was Mario Addis(b. wasprob Sassari, 11 December 1961) -

is an extraordinary,Aeterna unique, exceptional work. Chapter 3:Italy Sanctus (id.),ConfutatisandKyrie- sub (id.)The i xle yteivnino images Requiem isexalted by theinvention of 209 Il cerchio e lasogliaCircle (‘The and Alo thesefilms were sections Allof 210

Jazz for aMassacre (2014) magazines, andnewspapers, photocopiedonpolyester and photosfrom theset, mation. technique The (acollageof orreminiscence.episode the words that show theprecise date, time, andtitleof is punctuated memory bywritten continuousThe flow of dreamy softmoods. happy moments, orthelightonesof pain,orthebrightonesof images have thedark of colours those shemadewere semiabstract andvery short.Her Federici (b. madevery fewfilms, Rieti,29July 1964) but cally above theimageshecreated asapainter. lets the stereophonicCarrano soundtrack stand estheti- ated directly ontofilm. With remarkable humility, director improvisation cre- combines well withtheabstractforms Trouble’sis afilmicjamsessionin which jazz theNoiseof 626 W.A. Mozart, 2012. Figure 3.31 Un amore (‘A Love’, 1999)isajewel inauteurItalianani- A filmmaker, painter, illustrator, andarchitect, Laura

Aeterna –RequiemOp Leonardo Carrano, Aeterna . KV Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 fthepoet,novelist, andfilmdirector Pier Paolo Pasolini. of his bestfilm,ontheassassination (on2November 1975) leader), andtheweightier Pasolini Requiem(2009),possibly then Pope), Berluscomic (2004,aboutthecontroversial Italian controversial Italianpolitician),Wojtyla (2001,aboutthe be a quackdoctor), Africa (1998,aboutablack Catholic bishopwho pretends to MilingotheSpiritof thecountry), of political corruption star whose adventuresand (1995, about a porn expose the who dealtwith current events, withsuch shorts asMoanal- thevery fewanimators in countlessarticles. Hewasoneof investigatedSeptember 1970) and popularized its history it Madrid 2000. emotional. Warhol’s imagesare seriesonthestars. The intensely vaguelypainted withtemperacolours) resembles Andy 214 213 212 211 (‘Circles intheWater’, 2006),andAnimalia(id.,2007). in piazza(‘ISaw You intheSquare’, 2005),Cerchi nell’acqua hisgroup’s songs:Tihovisto made animated video clipsof ber 1972) filmin1995,Eifù(‘HeWas’). madehisfirst Hethen turbazione, Tommaso Cerasuolo(b. Venice, 19Novem- the series is merrily educational.the seriesismerrily mal characters withpunningnames. Aimedat children, inhabitedby jungle seriesissetinanimaginary ani- The Boy!’, 2007). madeUffa, che pazienza!(‘Oh. . . ary 1956), andSilvioPautasso (b.January 1948) Nichelino, 9Janu- theDesert’,2005),andKim(id.,2009). (‘Farhat, thePrinceof theMohicans’,2004),Farhat, ilprincipedeldeserto Last of BrunoBozzetto, 2003),L’ultimo deiMohicani(‘The idea of Family detailinSpaghetti (from an fessionalism andlove of forgotten. Veteran though,showed Laganà, Giuseppe pro- By Francesca Guatteri. Titles originallyinEnglish. Emailed messagefrom Paola Bristot(26June 2014). Emilio delaRosa andJ., Catalogue Cine deanimaciónespañol delosañosnoventa Animadrid2000,Comunidad Madrid, Hernández, A painter, composer, andsingerintherock group Per animation, MarioVergerAn advocate (b. of Rome, 22 Most animated Italian TV series of this time are best thistimeare best Most animated ItalianTVseriesof Two more veterans, Giorgio Valentini (b. Fano, 9 memorable. material withwhich Blutellshisstories, makingthem and trivialastoberemoved from ourmindsbecomethe urban spaceinafantasticuniverse. Cityscapessougly energy, theeveryday andtransform 2010) are fullof portions. colossalpro- toastreet artanimation, even of himself in 1981), devoted an artist born Blu (pseudonym of Muto (‘Mute’, 2008) and Big Bang Big Boom (id., 211 Giulio Andreotti (2000, about a smart and -

h 90 hycetdalrenme f eis oeo series, someof the 1990sthey created alarge number of Barcelona OlympicGames. ing the mascot designed by Javier Mariscal for the 1992 CobiTrouppe Americain1992,andThe (1991),featur of thediscovery made tocelebrateof thefifthcentenary andOne Americas’,1991), OneThousand ricas (‘The tion toeducational contentisshown inLasmilyunaAmé- studio’s Gnomes’,1996).The atten- NewWorld(‘The of fof launched somesuccessful seriessuch asthesecondpart est lasting companies. After its heyday in the 1980s, BRB D’Ocon inthe1980s, were themostsuccessfulandlong- Boyd,dio Biern andD’OconFilms, created by Antoni No Art,Animation Studio, andFullAnimation. Animagic Studio, Animation, TirannosaurusProductions, Anima2, Dubilitoon, Lotura Films, Productions, Steps Producción, Merlin Animación,Acción,Truca Films, Films,Neptuno Cromosoma, Dygra, Kinora, Cartoon companies that primarily madetelevision series:Catalan distribution. international of the importance the new technologies and of the savings of times andcosts. Producers anddirectorsbecameaware of production, aswell asconsiderable reductions inworking brought digitaltechnology newpossibilitiesfor national of very much likethestandard Americanone. arrival The dios such asFilmanorCruzDelgado, whose style looked manpower. hadbeentrainedat Mostdesigners filmstu- theatrical shorts(Drop, 1993; Help, 1995;Loo2004). times inSpanishanimation. the mostvital renewal inthe1980s, the1990swere oneof thelate 1970sandtheearly signsof After thecrisisof Spain , ‘Travellersviaggiatori! andTravellers!’, 2006). and Italy’,1999;Lalibertà,‘Freedom’, e 2005;Viaggiatori (Europa&Italia, ‘Europefor stylization gowildwithFlash However, healsoenjoyed Web animation, lettinghislove D’Ocon Filmshadmore impactinternationally. During BRB International, founded in the1970s byBRB International, Clau- many Spanish production 1990s sawThe the rise of nte19s pi emdol rvdro cheap In the1990s, Spainseemedonlyaprovider of great veteranThe Bruno Bozzetto sometimes made Willy FogWilly mundodelosgnomos (id.,1993)andElnuevo 213 214 Chapter 3:Spain

185 212 -

Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 1999). FracasseLegends’, 1999),andElcapitán (‘CaptainFracasse’, LastReserve’,(‘The 1999),Mitosyleyendas (‘Mythsand Pocket (1997),FixyFoxi Dragon (1998–2001),Laultimareserva van (1993),Enigma(1996),LosHerlufs (1996),Dad’x(1997), (‘BasketFeverel basket –Crazyfor Basketball’,1993),Syl- Charlie’, 1992),Problem Fever Child(1992),Basket –Locospor amigos (‘DelfyandFriends’, 1992),ChipyCharly (‘Chipand which intofeatures. later turned includedDelfyysus These 186 215 continued tooperate. Motion Pictures, Cromosoma, Irusoin,and Pasozebra also D’OconFilms, Films,as BRBInternational, Neptuno Perro Verde Films. big, The established companies such ment, IlionAnimation Studios, Graphics, Kandor and M5 Audiovisual, andIconAnimation, ZinkiaEntertain- Connection andLionToons inBarcelona, theAndalusian the audiovisual world were established. They included Bcn toothercountries.emigrated domestically madeproducts, even asSpanishprofessionals In addition,Spanishtelevision showed littleinterest in ficient; andTVseries didnotbenefit from direct aid. marketing wasunderestimated; public supportwasinsuf- adequate regulation inthesector;importanceof of awards. Newsoftware cuttimesandcosts. could reach large audiencesandobtaininternational haps more complicated, but more productive world. Films amore complex, and per andbecamepartof designers In the2000s, thesectorceasedtobedomainof The New Era prime. theless, from themid-1990s, Spanishanimation wasinits can, andotherEuropean ground. None- cartoonstogain time for Spanish producers, thusallowing Asian,Ameri- in their schedule, though they often didn’t leave enough to sellanimated series. channels The included animation Aragon Animados, hadtoclosedown. tinual risksontheir projects. Some, such asAnima2and grants,financial supportandhadtolook for takingcon- mercials. Nevertheless, toget thecompaniesstruggled mats: television series, feature films, shortfilms, andcom- La Coruña,12June 1963. There wasamajorincrease inproduction across for However, duringtheseyears many companiesrelated to However, there were some problems. Therewasalack h raino new television channels made it easier creationThe of

Chapter 3:Spain - - combined strengths andspread risks. filmcoproductions. international These collaborations of audiovisual world. Spainhadalongandpositive history delivered.) nels never advanced money until a finished project was and abroad generallyonlyrecouped expenses. (TVchan - y delasArtesAudiovisuales salesinSpain (ICAA).The the state –through theInstitutodelaCinematografía bygranted municipalities, autonomous committees, or cash orbankloans. Ontheother, there waspublic aid were private investments from producers, of intheform about 130shortfilms were produced inSpain. ten years, 55feature films, over seventy TVseries, and companies’ films stayed inBasque territory. In less than these there, thoughthesubjectmatter anddistribution of thating thegreater traditionandhistory animation had continually were located intheBasqueCountries, reflect - the companies that did produce production. Some of of two orthree, but there wasgenerallyvery littlecontinuity companies tocommitfeatures. ydelasArtesAudiovisualesgrafía (ICAA).Itledmany feature benefitedfrom thestate’s InstitutodelaCinemato- work. However, thenewmillennium, the of at thestartof three millioneuros each inadditionto1824months such demandingprojects, which generallyinvolved at least series becausefewproducers wantedtoriskworking on previous decade, fewer features hadbeenproduced than to makeanimated features markets, for international Living Forest’ had record revenues, showed a new way 2001 for bestanimated filmandbestoriginalsong. Forest’ won two Goyas (thetopSpanishfilm award) in the day,ing different in timesof ‘The Living season. every woods, inanattempt torecreate thelightandshapesdur film’s The inlocal dez Flórez. staffspentcountlesshours by andwriterWenceslao theGalicianjournalist Fernán- produced by Dygra Films. It is loosely based on the novel Ángel delaCruz LivingForest’,El Bosqueanimado(‘The 2001,directed by The TurningPoint Financing alsocamefrom companiesunrelated tothe fundingwere diverse. Ononeside, there sourcesThe of Many companies produced only one film, some made The featureThe filmbecamethenewfrontier. Duringthe It was a turning pointfor Spanishanimation. ‘The It wasaturning 215 andManoloGómez)isafeature film -

Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 euros. just6,000 original horror film,hadastarting budget of (‘Screams 2007)by inthe Corridor’, Juanjo Ramirez, an rative; itsmusic ismagicalandrelaxing. GritosenelPasillo choices. It is a work of poetry andartrather poetry thananar choices. Itisawork of cian designerMiguelanxo Prado, standsoutfor itsstylistic communication, marketing, andpromotion. tribution wasandhow much attention shouldbepaidto on newprojects. Professionals realized how importantdis- 160,000 VHSeditionsandabout40,000DVDs. alone, amountedtoabouttwo millioneuros. filmsold The revenues,motional campaign.The onIberianterritory produced inSpainthat couldcountonanexcellent pro- itable. Living Forest’ ‘The animated was the first feature and demonstrated that quality animation couldbeprof- 217 216 Figure 3.32 Ignacio Ferreras in Argentina in 1972. After jobs was born Award for bestanimated film. which aliens encounter humans. It won the 2010 Goya Abad, andMarcos Martínez,wasasciencefictionfilmin producing company). Planet51,by Jorge Blanco, Javier Graphics, andGreen MoonEspaña(AntonioBanderas’s LivingForest’),had thesamepositionon‘The Kandor Films (whose executive producer, Manuel Cristóbal,had 2009.Itwasacoproduction between Perro Verde ary and Manuel Sicilia, won theGoya Award inFebru- We have AWoman already metthis giftedfilmmaker(see Waiting Tell-TaleVol. 2) astheauthor of inaHotel(1979)andThe Heart(2005). Ignacio Ferreras, e-mailmessagetoGiannalbertoBendazzi, 15August 2012. El linceperdidoMissingLynx’),by (‘The Raúl García - theGali De Profundis, created from thecolourpaletteof Many peoplefollowed Dygra’s modelandembarked (‘Wrinkles’, 2011)isavery specialachievement.Arrugas

Ignacio Ferreras, Ar , ‘Wrinkles’,rugas 2011. 216 -

his feature director début. more wanderings, in2009hestartedwork on‘Wrinkles’, toCopewithDeath,whichHow won many awards. After that tookhimallover theglobe, in2002hecompleted animation. Yesterday could not be achieved in anything other than meaning that you findinafilmlikeOnly of and depth Japanese director IsaoTakahata. concentration The arrive at itsmostessentialelements. with animation you canreallyinorder distilthestory to time, removing anything superfluousfrom thescreen – thing moves, contribute and,at tothestory same every blink, every shadow, thespeedat which some- makingevery elementonthescreen, single detail, of injectingmeaninginevery a story, thepossibilityof But animation brings somethingvery different tosuch whicha story couldhave easilybeentoldinlive-action? tothetest. I had theopportunitytoputallthistheory the producer Manuel Cristóbal, thanks to the trustof my wifeandcollaborator Rosanna and With thehelpof each shot that the film really takes shape in my mind. drawing andediting this physical, hands-onprocess of ally draw thestoryboardandeditanimatic. Itisin Above all,directing meanstomebeingable- toperson thoughtananimated filmshouldbedirected. way I Wrinkles wasfor meauniquechance todirect itinthe o e h ra atro ti ido cinemaisthe thiskindof For me, thegreat masterof People oftenask: why doyou doasananimated film 217 Chapter 3:Spain

187 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 Reds, Telmo andTula LittleCooks’),LMN’S, –The and Reds, Tales’). MotionPictures screened Boom dra, Detective of Lola &, Virginia in 2007,promoted fairplay andparticipation insports. Little Devil’), Dibo , andPapawa. also produced Angus &, Cheryl the protagonist, life. isablind boy BRB leadinganormal D’Ocon, andZinkiaallfollowed thispath. Films, Motion Pictures, Imira Entertainment, Pausoka, Baleuko,utes.) Cromosoma, BRB Internacional, Neptuno anhour;inthe2000s, they didnotexceed five min- half ing afewminutes. (Inthe1990s, couldlastabout episodes their own programming grids. toschedulebegan more entertainmentcontentwithin products, but someautonomous, localtelevision channels tries. Spanishtelevision stillwasnotinterested innational entrustingtheiranimationbegan servicestoAsiancoun- ucts, especiallytelevision series, sinceforeign producers animated prod- and aconsiderable decrease in salesof theeuro inSpainledtoariseprices introductionThe of TV Series 188 218 distribution, andmarketing process, oftenbeingrelegated Shorts, by nature, are rarely involved intheproduction, Shorts worlds andunreal characters, closertofantasythanreality. early fears. Diverse animation techniques create magical ships with friends, parents, nature, animals, love, first and Spain ignored it,but fundingcamefrom a British channel. in over ahundred countries. Localtelevision stations in popular with both young serieswas broadcast andold. The and simple, but were androunded itsbrightcolours forms themaincharacters iselementary choices. designof The seriesinCGI,characterizedtionary by originalaesthetic Leyendas, tonameafew. Monster Rancher, Fracase, Capitán FixandFoxy, andMitosy duced and Tula –ArtsandDexterities’),.D’Oconpro andAlex - Light, Zumbers, By AlbertoRigoni. During thesameyears, ImiraEntertainmentproduced Between 2000and 2001,BRBlaunched Nicolás.Nico, budgetsThe were rather low, witheach last- episode h eisi bu h ol fchildhood: relation- seriesisabouttheworldThe of Pocoyó (id.,2005),produced by Zinkia,wasarevolu-

Chapter 3:Portugal Laces, Lua,Frog, Kong, ConspiraciónUbos, Roswell, Telmo and Tula – Los pequeños cocineros (‘Boom and Telmo & Tula –ArtesyManualidades(‘Telmo Vitaminix, andSandra,decuentos(‘San- detective Storm Hawks, EldiablilloStorm (‘The , awell-known series Berni Green eevda wr tteBla etvlo shortfilms. received anaward at theBilbaofestival of 2005). In2012,herBajolaalmohada(‘Under the Pillow’) as mercials for films, importantclientsandindependent such based company LokoPictures, sheproduced bothcom- and videoinstallation. Later, withherown LosAngeles- Round Trip’, 1989),she blended animation withsculpture In artist, filmmaker, culturalorganizer, professor, and critic. meaning andissuitable for bothchildren andadults. 2D, symbolismand 3D, andPlasticineanimation. Itisfullof World’s delmundo(‘The más grande combines Largest Flower’) a paintingby Francisco Goya andanimated in2D. LaFlor infive Independence minutes, toldthrough Spanish War of Goya’), directed by HéctorCañoDiazin2007,recreates the buildings around her. ShotOnesof LosfusiladosdeGoya (‘The Navarro reflecting onalonely woman who cannotstandthe with adoortoanotheruniverse. and Iban José Pérez, projects the viewers into a grey world by Pako BagurGomila,Frederic Cordoba Schwaneberg, as anillusion.Lahabitacióninclinada SlopingRoom’), (‘The ríguez directed islas (‘New Islands’), about freedom Nuevas 2002), which wasalsoproduced by LujánandElosegi. Rounds’, Martínez Rodríguez, Noche deRonda (‘Nightof helped create, together with Carlos Navarro and Gabriel historian andcriticEmiliodelaRosa. Inthesameyear he shortwascoordinatedAgudo Pinilla.The by animation in 2002;itwasahyperrealistic shortdirected by Diego Basque Countries and Madrid), Lluvia (‘Rain’) was made Elosegi andEmilioLuján(andtherefore between the painted drawings onpaper. romantic and delicate film, wasmade with10,000 hand- Tears Your Petals’, 2003,directed by Juan Carlos Marí),a tuspétalos(‘IWill Water conlagrimas mated short.Regaré with Pinguinos Animados, won aGoya in2002for bestani- short filmsmadeduringthe2000s. to amateur screenings andfestivals. Therewere about130 tle filmin1993:OsSalteadores by AbiFeijó. the Itconcerns A new risein Portuguese lit- animation with a sharp began Portugal Isabel Herguera (b. San Sebastian, 1961)worked as an Vuela for Me’)isashortdirected by pormí(‘Fly Carlos In 2003,EmiliodelaRosa andGabrielMartínez Rod- Under a coproduction between agreement Eduardo Pollo (‘Chicken’), created by Manuel Sirgo at Estudio12 (‘The BlindHen’, (‘The Balloon(2003)andLagallinaciega The (Sn fa Safari (id.,1989)andCantedeidayvuelta(‘Songof 218 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 Sésamo (‘SesameStreet’). from thechildren’s programmes Jardim daCelesteandRua more business toFilmógrafo, especiallyfrom RTP and prizes.well as13other international Moreover, itbrought Feijó encountered andhisfriendshadfirst animation) as theJury at the Cinanima FestivalSpecial Award of (where Portugal. Itwon the compromise inthe‘longnight’of with nogreyscale, ametaphorfor theimpossibilityof reveal howcanbeforgotten history ormodified. their memories;asthey toreconstruct try thetruth,they police were huntingsomefugitives. three The confront remembering a similar night, many years before, when themstarts three people on acar trip at night.Oneof of dozen otheryoung enthusiasts. OsSalteadores tellsthestory a he established inPorto the studioFilmógrafo withhalf the ‘Cinanima Generation’, and the first representatives of It Is’,1985),usingcombinedtechniques. Feijó wasoneof produced animated his first film, Canada in Montreal, during which he had Film Board of in 1986hestartedworking onastoryboard. already writtenina‘very language’,and cinematographic Castro ‘Abi’ Feijó (b. 18June 1956) Braga, realized itwas the antisalazarianwriterJorge deSena.Álvaro Graçade the Portuguese dictator Salazar. Itinspiredby ashortstory Spanish republicans fledto onlytobecaught Portugal, by theSpanishCivilWar (1936–1939),when of aftermath 219 Figure 3.33 imgaocoe nMy20.Acul fyears later, closed inMay 2002.Filmógrafo Feijó A couple of andPessoa established Ciclopefilmes, which coproduced HistóriaTrágica. The 14-minuteThe black andwhite filmisdrawn on paper at the NationalHe had completed a six-month internship

Abi Feijó, Clandestino,‘Stowa Oh que calma (‘How Calm way’, 2000. working in 1992, as a cinematographer with Filmógrafo that usedby thePolish animator PiotrDumała. process The issimilarto itagain. image andphotographed it, then slightly changedter plate the and photographed been visible since ANoite,inwhich sheengraved aplas- Pessoa’s interest inunusual andsuggestive techniques has a girl alone at night in her room must confront her fears. workpersonal Night’,1999),inwhich wasANoite(‘The in Porto andhadanimated onOsSalteadores. Herfirst had studied painting at the Fine Art Academy ber 1969) window (andthe peoplesoonmiss herheartbeat). her iscomplete,When themetamorphosis shefliesoutof to herheart.Astimegoesby, wingsgrow onherback. alittlegirl; shesays it’s becauseherbody isnotsuited of In asmalltown, peopleare annoyed by theloudheartbeat Grand Prixat the2006AnnecyAnimated FilmFestival. with Happy Ending’,2005)by Regina Pessoa won the and characters respectively. using sandanimation ontwo layers for thebackground astowaway onaship,José Rodrigues Miguéis, ittellsof sidered Feijó’s masterpiece. Taken from by ashortstory Your European. project, hisinternational Know John Halasasasegmentof film basedontraditional Portuguese music, produced by Pedro (b. Serrazina started Lisbon,27December 1968) Before making this film, Pessoa (b. Coimbra, 16 Decem- In 2006,HistóriaTrágica comFinalFeliz (‘Tragic Story Fado Lusitano(‘LusitanianFado’, 1995)wasacut-out Clandestino (‘Stowaway’, 2000)canbecon- 219 Chapter 3:Portugal

189 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 ground artist. 190 221 220 Figure 3.34 painting, andCGI,but used live-action Serrazina for the past, and future. film combines drawn The animation, where the sea is at once mate, seducer, murderer, mother, humans andthe sea, it tells the even greater love of story father anddaughter. hiswife, thegirl’s mother.of Eventually atempestreunites a sweater. We discover that hecouldn’t getover thedeath house keeper, surly andsolitary, hisfacehalf-covered by objects washeduponthebeach. Herfather isthelight- On arocky coast,alittlegirl plays alone, enjoying the thebestPortuguese animated films. Lighthouse’), oneof the sented thefifteen-minute Osolhosdofarol Eyes (‘The of the Moon’). 1995 withEstóriadoGatoedaLua(‘Tale abouttheCat and ryboarded acharacter inOsSalteadores . Hesto- and asthevoice of h ahro comicstripartinPortugal, StuartdeCarvalhais (1887–1961)wasalsoapainter, fatherThe of illustrator, costumedesigner, andback - Ana MargaridadeCarvalho, ‘Pedro –Olhosdefarol’, Serrazina Visão,22April 2010. The filmisaloveThe between story agirl andherfather, but In 2010,afteralonggestation, Pedro pre Serrazina -

Chapter 3:Portugal

Fado Lusitanoandmadehisdirectorial debut in Regina Pessoa, HistóriaTrá gica comFinalFeliz, ‘Tragic withHappy Story Ending’,2005. rpi ol fStuartdeCarvalhais. worldgraphic of made vey itsaleatoryandorganicside.’ power that the seacontains, and animation couldn’t con- sea. ‘We, inPortugal, are acquaintedwiththeevocative taches and hair, a blue ball for a nose) and some chickens, oddly designedprotagonist (three white tuftsfor mous- ItfeaturesGinjas (‘SourBlackCherries’). acharacterless, invirtuosity. tolosehimself appears Zepe His filmsare slow, subtle, andsincere, thoughsometimes characters (Candidoandthewoman hedrives tosuicide). shotsandstyleinvolving thetwo main trasting dynamic of movements, cleverly usedpoint-of-viewshots, andacon- powerfully unsettling, withwell-made animated camera Lisbon andhiscomicbookcharacters. Candido(2007)is artist’s styleandcrosses between his lifeinabohemian José Pedro Cavalheiro ‘Zepe’ (b. Porto, 25April 1956) In 2011 Zepe directedIn 2011Zepe hisown TVseries, the absurdist (06,acmeln xlrto fthe Stuart (2006),acompellingexploration of 220 221 It mirrors the Itmirrors Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 the Lighthouse’,2010. Figure 3.35 223 A MidsummerNight’s Dream . that itcondensedalltheevil ghosts, sorcerers, demons, gave superstition andmonsters. This inspiration toWilliam Shakespeare for his 222 ao Tecto do Mundo (‘To the World’, the Top a.k.a. of Midsummer Night’s Dream. Anall-Portuguese feature wasAté and ManoloGómezwasbasedonShakespeare’s A used anexperimental 2Dcomputertechnique. Scored los Silva, AntónioCostaValente, and Vítor Lopes, who Sete ,‘John Seven Seven’, 2008).Itsdirectorswere Car frying pan,throughfrying Plasticineandobjectanimation. a Yvon andaspatula Guillon).Anegg duelinthearena of 1994,withPierreBouchonhe codirected(‘Eggs’, and Ovos animation inRennes, France. DuringhistimeinFrance, Lisbon,hespecialized indrawn andpuppet Arts School of as ananimator on OsSalteadores. Having studiedat theFine unsettling at once. thefree imagination, joyous and Zepe’s littletheatre of andmalevolent. which seriesis The isenormous one of 2005). Sueño deunaNoche deSanJuan (‘A SaintJohn’s NightDream’, duction withSpain,OSonhodeumaNoiteSãoJoão –El toon d’Or. Portuguese filmto receive theEuropean Oscar, theCar the finalcoupdethéâtre . In2000,ASuspeitawasthefirst cockian touch, guidingandmisguidingtheaudienceto animates very expressive PlasticinepuppetswithaHitch - themmust beaserialkiller.long journey. Ribeiro Oneof the ticketcollector)share atraincompartmentduring a clumsypetty-bourgeois (joinedfrom timetoby voracious fat lady, and haughty woman, an elegant and Suspect’).Inthelatter(‘The film,amoody young man, a Queen’s(‘The Banquet’, 1996) and peaked with A Suspeita By GiannalbertoBendazzi andMikhailGurevich. SitJh’ ih’(h umrsltc)i h hretngto teya.Tosnso years ago, theyear. European maintained ‘Saint John’s superstition of Thousands Night’(thesummersolstice) istheshortestnightof Ribeiro’s talentbecameclearwithOBanquetedaRainha José MiguelRibeiro (b. Amadora,18January 1966) was The first first The Portuguese animated feature wasajointpro- 222 MadeinCGI,itwasdirected by ÁngeldelaCruz

Pedro Osolhosdofar Serrazina, TeEe f Eyesol, ‘The of João - -

was becomingactive, andarobust free press wasdeveloping. hand, democratic institutionswere beingbuilt, civilsociety Chechnya resulted in many civilian casualties. On the other repression; abloody lengthy warintheseparatistprovince of rioting,1993 resulted inaconstitutionalcrisis, armed and with vice-president AleksandrRutskoy andlegislatorsin theRussian Federation dent of from 1991to1999.A clash and economicliberalization underBorisYeltsin, presi first - freedom inages. breath of opposite view–that thedecadewasmostimportant rakish-wild’ years, but many would stillholdquitethe more andmore commontorefer tothe1990sas ‘slashing- edly redefined and reevaluated. Lately, ithasbecome (in 2015),andperiodsdevelopments are beingrepeat - is still fluid and uncertain as these lines are being written post-Soviet Russiaan oldsaying. historicalidentityof The would bedissolved. that year,one) onboard. theentire In Decemberof Union newspromptedThis acelebration (albeitahalfhearted officially recognized theBalticrepublics’ independence. was announcedthattheSoviet on6September Unionhad alongtheway –astheshipwasenrouteinternational it though itwasmainlyattended by Soviet citizens itbecame River. Itwaspublicized festival, and asaninternational launched from Kiev onboard ashipdown theDnieper coupinMoscow,liners’ ‘floating thefirst festival’ KROK the1991Communist hard- Two weeks afterthefailure of ofthe1990s History Russia many festivals. international by AntónioVitorino d’Almeida,thefilmwasscreened at make tremendous fortunes virtually overnight. The term make tremendous fortunes virtuallyovernight. term The humblecustomary but steady livelihood, while somewould supposedly, the homogeneous. Many would bedeprived of a dramatic wealth divideinasocietythat hadlongbeen, vatization wasalsounderway, thecreation triggering of apy wasintroduced andpricesincreased very quickly. Pri- From 1992,withaneconomy indisarray, ashockther troubles marredthenation’s path topolitical A number of Russia isthenation withanunpredictable past–sogoes 223 Chapter 3:Russia

191 - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 192 nels were putunder governmental control. Other media Putin’s TVchan theindependent - presidency, mostof strong-handed order. So, withinthefirst year ortwo of thatfor would stabilitywasintheair, meana even if behind them had been distorted and devalued. thirst The would becomealmostobscenefor many, asthenotions veryin thereforms. words The ‘democrat’ and‘liberal’ fatigue over thehavoc anddisappointment sia wasoneof reelected in2004. cow. Putin won thepresidential election in2000andwas new timesandsubsequentlyenjoying arapidriseinMos- into SaintPetersburg cityadministration at thedawn of lieutenant colonel before moving who rose to the rank of VladimirPutin,aKGB career officer That wasthehourof appointed prime minister to serve as the acting president. President Yeltsin resigned, leaving behindhisrecently announcementonNewYear’sIn asurprise Eve, 1999, ofthe2000s History cultural landscape. a trendsetter and nouveau-riche tastes largely shaped the fessionals. Intelligentsiaseemedtobelosingitsfooting as opportunities abroad –aswould numerous animation pro- or bankers,on theirluck, or soughtjob janitors depending cated class would change professions. Scientists became edge. allthedifferent mythologies wasboiling over the mix of the pastproved tobeinconclusive at best;thedistorted embedded in the Russian mindset. Settling accounts with the empire – not to mention the ideological project long- lost, as well status, as superpower imperial grandeur, and 1998. default of the decade–onlytobeseverely by hitagain thenational put, theeconomy wasrelatively stable by themiddleof apparatchiks. former came from theranksof ‘oligarch’ wasusedwidely, largely andthenewmasters new world. cere works among them – not everything was lost in the out any selection).Therewere stillhigh-qualityandsin- Russianfilmsto show (with- managed tofindahandfulof national thefirst animation festival in1996barely izers of duction capacitiesandresources, organ- languished.The itsheavy onpro dependence - all –but cinema,becauseof ytesato thenewmillennium,moodinRus- By thestartof Cultural lifemanagedtohecticallyflourishdespiteit sheersurvival, many from theedu- In theinterest of societyseemedtraumatized.The ColdWar The was GDP andindustrialout- After losingagooddealof

Chapter 3:Russia

t utrlpormig nteramo theatre and the ity cultural programming. In the realm of qual- vehicle, thoughthere were smallmarginal niches of considered lowbrow entertainmentand/ora propagandistic –withnativist archaisms. Televisionmentation wasgenerally ‘sovietisms’ experi – withreligious- zeal andmodern did Westernized pop-culture, as proliferation of unabashed attaining astatus closetotheoneithadintsaristRussia. Orthodox Church becameapowerful state institution, official atheism, butinthe2000s Russian the endof certain religious revival, perceived asanatural reaction to bic sentimentsbecameapparent.1990shadseena The Sovietfrom former Asia,flooded thecities, and xenopho- ‘Russia hasrisenfrom workers, itsknees’.Migrant mainly pride inforeign like policyactionsorindomesticslogans almostimperial abuzzword, aswould manifestations of of ditions. Later, ‘patriotism’ would become more andmore slightlydisguised,aswerewas returned, othersimilartra- trends andleanings. Rather early on,theoldSoviet anthem thisopposition. mentality) wasat thecore of atively young urbanprofessionals, inlifestyleand modern vocal so-calledcreative opposition.The class(rel- the riseof sial parliament elections, sparked massstreet protests and team switched This, chairsinadditiontocontrover again. thetandem election cycle (announcedinSeptember 2011), primeministerhimself. For the2012 assumed thepostof PutinbackedcloseassociateMedvedev Dmitry and term, corruption. ity wouldbemarredby beonce again terrorist actsand and entertainment,wasemerging. stabil- Sadly, thiseraof and amiddle-classthat enjoyed andrestaurants, cars travel tain smallbusinesses andserviceindustrieswere growing; substantially, especially in the capitalsand big cities; cer education). Inany event, livingstandards were improving merly solidpositions(e.g. basicscience, heavy industry, and being putinsecondplace, where they riskedlosingfor say that Russia becameapetro-state, withothersectors to over by 100USdollars themid-2000s. Criticswould rising from belowperbarrelinearly 20USdollars 1990s due inlarge parttoexporting oil andgas, withoilprices sorts. tostandforonce again, arulingclassof the state. Intime, thesprawling bureaucracy would come, onthescene,was arriving many closelyassociated with and notchallenge power. business masters A new breed of oligarchs andfrom that pointonwere supposedtostay put Media tycoons victimsinsettlementswith becamethefirst would experience increasing pressure intheyears tocome. In culturallife, nostalgictrends coexisted withthe Ideologically, the period was marked by contradictory In 2008,barredconstitutionallyfrom runningfor athird experienced country impressiveThe economicgrowth, - - -

Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 info/articles/9506-mult-ekonomika, orhttp://www.kino-teatr.ru/blog/y2013/4–2/. 226 225 224 thedeveloped world. of In the1990s, Russia would notfitintothe business schemes Economy children’s animation inRussia couldnotbeprofitable. producer Ilya Popov’s objective wastodispelthemyth that precedent for self-sufficientanimation projects. Smeshariki theircapital.Uptothemid-2000s, there wasno over of economic instabilityinthecountry,- preferred aquickturn any profit. Russian businesspersons, duetothegeneral tion project tookyears tobedeveloped andyears tomake were notmuch interested in thesubject,sinceananima- what itcosttomakeafeature. Private investors quarter of anAmericanseriesorone- could provide for oneseasonof very much. Allthemoney available for state animation resources. state The didgive money for animation, but not years afewRussian films were alsoamongthetopten. wereleaders always Americanimports, but over several in 2010–2012toonly14–15 percent. unquestionable The it wasaround 24–26 percent; anditdecreased still further in2006–2009 in 2005itincreased toclose30 percent; all genres) inthe national box officewasabout13 percent; fresh focus ondocumentarieswasevident. in thisnewwave. Asoftenhappensinturbulent times, a mainlybythe newrebellious association, formed directors and, on the other side, into a faithful functionary) turned NikitaMikhalkov (atalentedactor-director sonal ruleof the oldunionleaningtoward thepower undertheper to servilemode. filmcommunity The wasdivided,with state financing, filmmakingwasvulnerable tosuccumbing screened inthecapitals. Beingvery much on dependant them anyway,ties made a good range of andthey were films remained onthemargins. Festivals andfilmsocie- domesticproduction inthesecondrow.sible hitsof Art screens withHollywood blockbusters andlefteven pos- although not-quite-sufficientdistribution systemsfilled the ing. Inlive-action cinema,industrialrevival wasevident, nomic hardships, were but fairs intellectualliterary thriv- festivals andtours. Bookpublishing experienced eco- international pal world focal points, thanks toavariety of theprinci- arts, intooneof Moscowperforming turned This paragraph is based on the longer essay ‘Mult-economics’ [Anim-economy],paragraph This by Maria Tereshchenko, 2 April 2013. http://kinote. Even quitedistinguished directorsat noncommercial studios were paidonly 10–15thousandroubles amonth. (300–500 dollars) By MariaTereshchenko. n20,tesaeo dmsial rdcdfls(f domesticallyproduced films(of In 2004,theshare of 224 225 Problems withfinancial began -

production budgets did not allow fair wages, thesameviciouscircle. Low labour were bothpartof professionals). dreds, but justdozens, of (even consideringthat Russian features employed nothun- would have notbeenasufficient workforce to create them launch tenfeature projects simultaneously, sincethere studio executives assertedthat itwould beimpossible to thousand peoplewere working inthefield.Producers and According toestimates, onlybetween athousandandfive animation inRussia inthe1990sandearly 2000s. money on it? Obviously, there was no living to be made in when itwassoeasytobuy anAmericanfeature andearn would onewanttomessaround withsomemurky projects and theatrical distributors were notinterested either. Why content.DVD publishers forabout 300dollars anhourof shown onTV–even thoughTVchannels were onlypaying longer, togetMountain totry hecampedondoorsteps not years, if GemMountain.For acoupleof production of agonized, for example, over puttingtogetherthenational ages through agencies. international AleksandrTatarsky volume. It wasmuch easiertopurchase bigcontentpack- Russian animation? Basicallybecausethere wastoolittle and thenthey would simplysitontheshelf. festivals, andmaybe gatherings, alsoat someinternational total obscurity. They would be shown at some national films were beingmade regardless. Butthesefilmsfaced talent. was admitted,regardless of forless than one person each seat – so practically everyone dents. was so much This the case that the competition was in animation were notbursting witheagerprospective stu- people, so colleges that prepared students for professions apenny onthesideinadvertising. toturn trying als hadtorushfrom oneproject toanother, inadditionto studios didnothave stable trainedworkers andprofession - ally) andthendisassembled uponcompletion.Asaresult, particular film(that is, for a year ora year andahalf, usu- themselves onthehook.Teams were oftenassembled ona studios that lived from onestate handouttoanother were this minimum compensation wasnotguaranteedsince h iaca rbesadsact fprofessional financialproblemsThe andscarcity of The labourforceThe resources inanimation were alsolow. Why didn’t exhibitors anddistributors show interest in There would always be some enthusiasts, however, so prospects were notattractive tomost sortsof These Chapter 3:Russia 226 and even

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Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 channels becamequiteinterested indomesticanimation. projects startedwithoutstate money andTV a number of toons, startedtodemandnational products. Furthermore, financing increased andviewers, fedupwith foreign car certain initiatives takenby theanimation community, state investors, distributors, andTVbureaucrats. to Thanks (‘Masha andBear’),Fiksikiincreased theinterest of features on bogatyrs, the series Luntik, later Masha i Medved of mercially successfulprojects, likeSmeshariki,thepentalogy they couldchoose what they wantedtowatch. kids consumedmuch more andalsowantedoptionsso animation ayear andwere happy withthat. Post-Soviet meaning ‘funny’, andshariki,meaning‘littleballs’. 194 229 228 227 doing features; cycle Pilottookupthefairy-tale GemMountain to children’s productions. studios startedtorecover, switching from auteuranimation directions onhowThe mostsolid itshouldbespent. firm support cinemafor children. Money camein,alongwith it wasabackwards one:onthestate level, itwasdecidedto 2000s onesaw onlyoldAmericanorAsianseriesonTV. Thus, inthe1990sand correspond tothisnewformat. Russian animation could not and sotheentire body of long. standard The screening unithadbeen10minutes, They wantedfilmsthat were 26,13,six,orthree minutes chase films inpackages that met their rigid requirements. schedule for ayear ahead,post-Soviet TVwantedtopur national television. Inorder toplanthebroadcasting tion haddiedout,andanimation haddisappeared from work. Theatricalfilmdistribution and exhibi- search of to different occupations andmany in hadleftthecountry thedecadeagoodfewanimatorshadswitched middle of money, sometimestyingupwithallbut Bythe gangsters. the West for cheap third-order work andlookfor private studios emerged. They would takecommissionsfrom uzmultfilm ultimately fadedoutand numerous private ments’ withregard toownership, thestate studioSoy- numerous andoftencriminal‘finalsettle- As aresult of A Look Back, in Anger tweeners, withoutmuch etc.).Those dissolving. creative ambitionwere toleave thefirst when studios were onthebrink of They are stylized rounded animals, known originalnameisderived asKikorikiinBritain,GoGoRikiAmerica.The from smeshnye , By DinaGoder. There wasn’t asufficient workforce to build upthenecessary production capabilities atthe lower and middle levels (renderers, inbe - The situationThe changed inthelate 2000s. Several com- new of In Soviet times, kidssubsistedon30–40 hours The SaintPetersburgThe studioMelnitsa(‘mill’)started pointintheearly 2000s,There wasaturning although

Chapter 3:Russia 227 - -

the remains didgotofinancesomeauteurprokects. thespoilshadbeengrabbed, and afterthelion’s share of financing, however, didcomethrough later inthisperiod, ing upthepie),situation in2013wasstillfluid.Certain agencies (which amountedmainly topower andcarv- games the higher echelons andin cinema authorities andfunding Russian situation wasvery bleak. erful machines, costlysoftware, oradvanced training, the Russian animation. Inanything related tohi-tech, pow - festivals were inthecountry very fewandfarbetween. up on TV, they were impossible to purchase, and animation buffs hardlyThesefilmsalmost knewthem.never turned were nevertheless made),thepublic andeven animation non-transparent Asfor andcorrupt. goodauteurfilms(that studio was formed specifically for theprojectstudio wasformed Smeshariki. launched eleven 13-minutewascompletedin2004);Animos episodes convenientin aformat forpackageof TVseries(thefirst near Moscow, 22July 2007) isanemblematic figure inthe Aleksandr (‘Sasha’)Tatarsky 1950– (Kiev, 11December Greatest Adventure Tatarsky andPilot, the nels. animation for TV,of eitherfor foreign ordomesticchan - together wasnotsufficientto provide aconvincing package allthestudios sian production: theproduction capacityof Rus- this situation was rooted intheunderdevelopment of production studiostobecomeself-sufficient.Ononehand, edly commercial projects didnotbringinenoughprofit for 2000s remained state fundedingeneral,andthesuppos- as adults, film buffs, and soon. Russiananimation inthe lored for grown-ups inorder toattractaswell teenagers quotations andhintstai- to smart,wittyscriptsfullof successful Russian animation series. wasmostlydue This technology,and Flash outtobetheonlydefinitely turned duction wasfor children, plusafewauteurfilms. pro- times:theoverwhelming former majorityof to that of Gradually theproportion (but notthequantity)wassimilar After somehecticactivity, amidnolesshecticchanges in Eventually, there wasalsoatechnological weakness in By thelate 2000s, Smeshariki,despiteitssimplifieddesign 229 O h te ad h ytmo state funding was Onthe other hand,the system of Russian Classicsfor Children; andthePetersburg 228

Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 (‘The LastYear (‘The sneg Snow Was Falling’, 1983). commissions before makinghisnext hit,Padal proshlogodniy national acclaimandimmensepopularityat home. meant that itaired afterall.Later itwentinter ontogain many prominent live-action actors the intervention of dialog, thefilmfrightenedstudioofficials,at first but freshShockingly inthebrave gags, clownish humour, and tures oneintoanother. were constantlybeingtransformed – things andcrea- metamorphoses and inthepoeticsof and the Crow’ fable) was a rare exercise in clay animation Fox theclassic‘The Crow’, essentiallyaparaphraseof outtobeahit.Plastilinovaya Voronaturned (‘Plasticine tion plan,hegotachance for hisdirectorial debut –which the same time.gap inthe studio’s In 1981, fillinga produc- received it,but Multtelefilminvited Tatarsky toMoscow at atandonlyKovalyovto beaccepted thehighercourses in/with Plasticine. 231 230 cue f‘beinghostiletoRussian people’. Inthisfilm accused of he barely madeitthrough theapproval process andwas however, withconsiderable baggage. post-Soviet period.Hewould entertheneweraproper, anro behaviour –allwasjustspecial.’ manner of world metaphor andcharacter’s emerged. Bothgraphic Yuri later Norstein observed: ‘A fantasticand harmonious screenwriters. admissioncommitteewasimpressed. The for higher courses directors and animation division of the film toMoscow andapplied tothenewly opened orker andcoauthorfor years pairbrought tocome).The sky andhisfriendIgorKovalyov (who would beacow- andhalf-amateurishlywas madeindependently by Tatar things. order of behaved as such, with no respect for reputations or for the was viewed as an enfantterrible–andindeedheoften whom heconsidered boldyoung mentors. The Tatarsky directors likeDavid Cherkassky andEvgeny Sivokon, conventional productions, but healsoworked for talented Ukrainiananimation. Heworked onmany mediocre of So in1968hewent toKievnauchfilm studio, thehome thecomic. realized of that thiswasanotherincarnation sketches forhediscovered them.Then animated filmsand the great masterclowns at home, ashisfather waswriting cus andespeciallyclowning. Hewasluckytoseesomeof aasyadhsatsstetdca o savreyo pper u ahra us u-u ehiu,o ido flattened drawing but puppetry rather as a quasicut-outtechnique,Tatarsky orakindof andhisartiststreated clay notasavariety of Iskusstvo kino[CinemaArt],#12,2007;citedasin: http://www.pilot-film.com/show_article.php?aid=96.Iskusstvo aasyhdt naei ubro ordinarystock Tatarsky inanumber hadtoengage of the Kiev studio officials was necessary backing of The sacidh a nhne ihteato thecir As achild hewasenchanted withtheartof Kstaty optichkaks (‘BytheWay, AbouttheBirdies’, 1979) 230 231 Again Again - - - mercial outlet – or, rather, to remain both in one. There little vague: tobecomebothanauteur’s heaven and acom- nurture newtalent. would remain apriorityasthestudiosoughttoattract and modus operandiwould becomearegular practiceand als directed sideby sidewiththe‘founding fathers’.This Lift (‘Elevator’, 1989) in which many young profession- thecomingera). important figure of tive producer Anatoly Prokhorov (yet another unique and Kovalyov, technical producer IgorGelashvili,andcrea- animation outlet–Pilotstudio. Hiscofounders were Igor toorganize,was thefirst inlate 1988,anindependent an energetic nature andanentrepreneurial streak and and even exerted considerable aestheticinfluence. Hehad hisown studio. the shakystatus quo, hewasdreaming of work in an artistic workshop atmosphere. Sick and tired of called ‘Tatarsky had a chance gang’ to come together and aged todighisown semi-autonomousholewhere theso- constant tensionswithMulttelefilmbosses, Tatarsky man- ment, albeitstillwithanenfantterriblereputation and enduring popularhit. workgags. outtobeanimmediate This and alsoturned buffoonish heroes and buffoonish and it features a duo of designisstylishly sharp police crimeseries. graphic The a larger project inseveral parts, apungentparody onTV directed1987, again withKovalyov) followed. was This codirected with Kovalyov). thesewere most eccentricallyauteurcreation (bothof joke on ‘how a vulture teaches an ostrich to fly’ – was his (‘Wings,Nogi iKhvosty LegsandTails’, 1986)–alaconic Clownade’ [‘farce’], 1985)fullylived uptoitstitle. Krylya, less sparkling. in painterly gouache drawing, but were its witty gags no script, followed. It was perhaps more exquisitely artistic, theMoon’, 1984),withKovalyov’s Darkluny (‘The Sideof tobringhomeaChristmastree.trying Obratnaya storona ahaplessbut likeable manlostinthesnowy woods and of humour, bittersweetovertones, albeitwithdeeper inastory Tatarsky hisaudacious revealed yet anotherdimensionof h tdossrtgcpaswr miiu,i onlya studio’sThe strategic planswere ambitious, if extra-short films called They produced of an anthology perestroika, hewasquitewell known By theadvent of An unlikelystarinthestringentstate-run TVenviron- Kolobki (‘The kolobki Sledstvie vedut Investigate’, 1986– very shortKubik-Rubik,The Klounada(‘Rubik’s Cube, Chapter 3:Russia

195 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 projects. Whenreceiving thenational Nikaaward for tively lightside, contributing toanthologiesandsimilar post-directorial stagestartedthere.’ ameta-filmnamed“Pilot”.His sky wasthedirector of studiobuilding. Prokhorovlarger causeof noted:‘Tatar adirector sacrificedtobecomeaproducer inthe ple of spread-out around theworld.’ ent studios, inkey positions. But,essentially, they are just Russian animation. They worknew wave now ondiffer of was created, equaltonone, which couldhave becomethe elsewhere. Years later Tatarsky lamented:‘A super-team ‘brethren-Pilots’ or worked. endedupinHungary Others At Klasky-Csupoalone, at somepointallbut adozen nationally. followed, Others veterans and youngsters alike. Hollywood was Kovalyov, who was already known inter ple hadtolookfor work themselves. toleave first The for 1990s, there wasjustnotenoughmoney around andpeo- strictly artistically, waslargely responsible). superficially, the Tatarsky style(for which Kovalyov, though only more andmore artistsandstudioswere mimicking, if ronment wasobvious andstrong; by themid-tolate-1990s Pilot’s style. stylisticeffectontheentire The professional envi- weretors trained withrespect totheirindividualitybut within StudyNotes.Anima- Animatograph themagazine few issuesof inviting scholars andcritics, andeven managedtopublish a turological’ centre. Prokhorov andsymposia, heldseminars duction divisionproper, trainingprograms, andalsoa‘cul- wasthoughttobeamultifaceted venture:enterprise pro- slapstick comedy. pantomime explicitly,and the early within the tradition of Anatoly Prokhorov articulated the aesthetic credo more clowning inparticular). thecircus, andof theartof of it mightbeinitsinnerstructure (which ischaracteristic to beanopen-for-everyone spectacle, however complex What hewasreally interested inasanartisthappened exquisite stylehewasdoingessentially people’s movies. thistwo-fold nature –inhissharp identity wasclearly of was astrong unspokenrationale behindthat. Tatarsky’s Pilot AnimationKino 11(1992)(inRussian). Studio’,Iskusstvo andearly seeMikhail Gurevich, theteamformation studiohistory Ones:Portrait Independent ‘The For of amore detailedaccount of 196 235 234 233 232 (Itrrtto fDreams’,a Belarusiantale, aTatar 2004)andTolkovanie tale, 2004). of snovideniy(‘Interpretation zeta.ru/nomer/2003/79n/n79n-s35.shtml. Larisa Malyukova, Entire ‘The World is Metamorphosis’, aasyhmefdirected two withTelegin): decentbut (again ordinaryepisodes Tatarsky byl Kakpankonem (‘How the GentHadtoBeaHorse’, himself Fedor Khitruk,Professia –animator (‘Profession –Animator’), 2vols, Live Book,Moscow, 2008, II,pp. 228–229. In aninterviewwithLarisaMalyukova,, Novaya Platicine[Clay?]Clown Gazeta (New Gazette), Oct.23,2003;http://2003.novayaga Although hestilldirected, hedidsomostlyonarela- He stoodasalmostadramatic figure –asan exam- Life wasrough nevertheless, andbiting. Intheearly different sortsasTheentire well. There were ambitionsof

Chapter 3:Russia 232 233 Iskusstvo kino 12 (2007), http://www.pilot-film.com/show_article.php?aid=94.Iskusstvo - - - producers) took over. thefounding 2013,IgorGelashvili(oneof beginning of it functionedunderNazarov’s creative supervision;at the into asingle-product-line factory. AfterTatarsky’s death have been amixed blessing: thestudioeffectively turned sion. For Pilotas aninstitution,though,thisarguably might asociallyimportantcommis- financing andthestatus of lifeonsecured state to give thestudioanotherbreath of restoring the industry’s vitality and cultural significance. whole tobeabreakthrough andadecisive pushtowards is uneven, but many inRussia considered theproject asa each one. Obviously thequality ties at thebeginning of leaderintroduced theregionsside. andethnici- A similar alike, partiallyin-house, partiallycommissionedonthe were madeby different directors, seasonedandbeginners thirty 13-minute filmshave beenThesegments released). the Russian 2012, Federation (launched in 2004; as of 52folk talesfrom different ethniccultures within cycle of 2000s wasGora Samotsetov (‘GemMountain’), aproposed hr es fmovement! What agrotesque!’ senseof sharp them asaprofessional andmarvelled: what amagnificent, I watched . .] line, magnificent expressive movement. [. in amazing scenes, absolutelyapartfrom what hewasdoing ‘[Tatarsky] showed mesomerough footage. They were Igor Kovalyov. According toFedor Khitruk’s assessment: a Train’), which back in the 1980s with he began Arrival of unfinished: theanimated feature Pribytie poezda (‘The pointed humour. were slowed down yet stillsmart,and toned-down yet still sawa. Itwasinfactanostalgic/ironicgags that filmwith between theathletes Fyodor Dostoevsky andAkiraKuro- Japan, acelebratoryskating competitionisheldinMoscow tory. AfterRussia’s World War inalliancewith IIvictory rected withValentin Telegin), wasbasedonfictitioushis- Rashomon’, 2002,codi- Redvorota Rasemon(‘The Gate of somewhat short,Krasnye Hislastpersonal embarrassed. Cook LittleMacaroni for Breakfast’, 1996)helooked Brat’ya Pilotygotovyat nazavtrak makaronchiki (‘Brethren Pilots But, truthbetold,there wasalsoapracticalimpetus: For Tatarsky-the-producer, themajorundertakingin h ao rjc fTatarsky-the-director remained majorprojectThe of Kolobki orotherfilms. subtleimpressionisticVery plot 234 235 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 started.’ world level, national scale and animationof industry, of And itwaswithhim–adecade later –that theRussian thebrain started. that trueperestroika (reconstruction) of were puttinghisfilmsontheshelf. Itwaswithhis works Brezhnev-Chernenko. Thatwaswhy Communist bosses creating post-Soviet animation cinemastillintheeraof perspectives really are outstanding. ‘Tatarsky First: started dreamer, anddown-to-earth doer. this trueartist,charismatic leader, teacher, public figure, as well. Many expressed theirsympathy over thelossof death wasashocktothecommunity andtothosebeyond thisrestless imagination. His projectthe lastgrand of old toys andotherartyartifacts. house wasprobably This house that hehadbeenbuilding for years andfillingwith 56,inhisdacha nearMoscow –thewonder- the ageof 239 238 237 236 thefilmlibrary, dal, thesellingoffof demise. pushed through, Hepersonally scandalby scan- deceitand head –toembark onalongand dramaticof saga prospective saviour. Heindeedwould becomethestudio Soyuzmultfilm, which wasalready indisarray, astheir type, injusttwo orthree years would bepresented to and soon. Unionhallways,the wings–inFilmmakers’ at seminars, producers. and of studios (and Russian film-biz at large) of became a story theworld, Russian animation similarities withtherest of Closed, onceandfor all,theeconomicandideologicaldis- Producers: The New Class Sokolov. MikhailAldashin, who succeededStanislav reunite them, andby waslaunched 2013the newstrategy undertheartistic supervisionof functioned underthesameclassicstudio name:afilmfundandcreative productionThe president promised unit. personally in2011to in 2007. studio titles; the ensuing controversy and numerous lawsuits lasted for years and ended in a collection buyout by a loyal Russian oligarch chills.’ he enjoyed constantlyplayingwiththrillsand agame cal objectives. Hewaslongingfor renewal. Inaddition, From early 1990son,Soyuzmultfilm underwent multiple clinicaldeaths and attempts at resurrection in disguise. By2004,two entities Yuri http://www.pilot-film.com/show_article.php?aid=96. Norstein, Anatoly Prokhorov, http://www.pilot-film.com/show_article.php?aid=94. In 1992,theAmericancompany Filmsby Jove principal theexclusive wasgranted foreign distribution rightsfor themajorpartof st h sec f i eay uttooto themany hislegacy, justtwo outof As totheessenceof asuddenheartattack inJuly 2007, at Tatarsky diedof One, Sergey Skulyabin, entrepreneurial aseemingly In the late 1980s, three young up in men started to turn 237 236 Second:‘Inessence, henever ideologi- pursued 238 tepiaiaino theprivatization of

post-Soviet years itwasachallenge tofindcompanies at ShARwould thenbetodigfor financial resources. In producers-administrators would notapply. functionof The additional professional degree. AtShAR,thoserestrictions education could be admitted – to receive, in essence, an thesehighercourses, onlyapplicantswithprior higher of intheanimationwriters division.According tothecharter famous two-year for higher courses directors and screen- the extension of conceived as a ‘school-studio’, a kind of Animation Directing) was onnoy Rezhissury – School of and conventional nature. amore commercial 2004), andthenseriesfeatures of ot vremeni 2000) andKlyuchi (‘Keys Nurse’, The from Time’, sincere Nanya shortsubjects likeLukomorye. (‘Lukomoye: rather into animation directing. madeacoupleof Hefirst out relinquishing hisadministrative duties, hethenwent (1995) and Fedor Profession – Animator(1999). With Khitruk. - ries onanimation: MikhailTsekhanovsky. DynamicGraphics quiteinformative andintelligentdocumenta- couple of tioned above. Butat thesesamestudioshealsomadea Gerasimov’s fellow associate inalltheendeavours men- successful animation producers inthecountry. themostactive, responsive, and broadly considered oneof 2000s, includingnumerous debuts andartprojects, andis the1990sand notable filmsof is credited indozens of later inSuzdal) andeffectively ranit for many years. He the annual national animation festivalin (heldfirst Tarusa, Foundation.Guberniya Inaddition,in1996heorganized established Master-Film, alongwiththenoncommercial he built andthenrantheSchool-Studio ShAR;later he with Khitruk,Khrzhanovsky, andNazarov, Norstein, on thecontrary, becomeastudiobuilder. In1993,along yoeisiuino national pride. bygone institutionof the in theearly 2000sandleftbehind adesertinplaceof process andthe creative staff. He vanished intothinair boththeproduction tangible assets, andtheelimination of ShAR (anacronym that standsfor ShkolaAnimatsi - third,The Sergey Seregin (b. 1967),participated as The secondone,The AleksandrGerasimov (b. 1966),would, Chapter 3:Russia 239

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Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 December 2012.) and allfurtherquotesfrom Gerasimov andSeregin, are from communication personal from AleksandrGerasimov toMikhailGurevich, onlydistantly orpartially.’ justpurchasing essentiallycompleted projects: we nurturednever theminany case, were (This, inbusiness if of especially from state funds, shouldgothrough authorized channels. or otherwise smartlyarranged Gerasimov insisted, however: ‘We third parties. Most importantly, and finished underanother, orwiththe supportof initiated financialbacking, underoneroof evenand venient paralleltoShAR anovsky, but stillmoving wasstruggling forward. Khrzh- the school-studio, undertheartistic supervision of more andmore fee-basedhere aswell; by theearly 2010s, ShAR filledthe void. Gradually, training would become wasclosedintheearly highercourses 2000s, division of 198 241 240 Cherkasova, and Aleksandr Petrov. among others, someworks by Ivan Maksimov, Oksana the 2000s, were marked withtheShARlogo–including, of of the1990s, andtoalesser extentthose nificant films projects, bothsmallandlarge, were produced. Many sig- careers. Italsowasthebasewhere Khrzhanovsky’s later tution cametoplay acrucialrole inlaunching many support debut films, andsointhis respect thenewinsti- ish S4CandBBCWales. Through thedecadethesefilms ably unprecedented, coproduction adventure withBrit- Demin. Christmasthenboldlyembarked onahuge, prob- Galina Barinova, young Aleksei Kharitidi, and Aleksei Town’, 1992,afteraclassic satire by Saltykov-Shchedrin), by Valentin a Karavaev (Istoriya odnogogorodaof , ‘History mas, underBabakhina’s leadership, startedwithafewfilms leadingdirectors. Christ- taking withitagoodnumber of Soyuzmultfilm but leftalittle later,under theauspices of near horizon, she founded ChristmasFilms. itwas Atfirst had collected and the prospects for coproduction on the the1980s. contactsshe Consideringtheinternational of good there. Shemoved toSoyuzmultfilm at the end very top manager at Multtelefilm –and rather a force for the outabout90minutes). turning capable of timeswasonly animation peryear (ShARat thebestof the field,withcapacitytoproduce abouttwoof hours production. Onbothplanes, it’s arather seriousplayer in val. Italsobecame more andmore involved incommercial the national festi- and the principal sponsor-organizer of Maksimov and several auteurs) others thefilmsof most of whom.’) Itwasalso anartfilmoutlet(being responsible for everyone from each side is on the look-out – who finds (As Seregin comments: ‘Lately it’s likeafairorexchange: alone, alsoserved asanindispensable debut launch pad. and filmscholar. It should be noted that interinstitutional cooperation became almost a rule of the game in new times: many films carry innewtimes:many thegame multiple logos, filmscarry It shouldbenotedthat interinstitutional cooperation becamealmost a ruleof It wasalsoGerasimov’s enterprise, runtogetherwith Vyacheslav fullyindependent Mayasov producer (1954–2006),adocumentary Master-Film, founded initially in the mid-1990s as a con- Elizaveta Babakhina(1934–2012)wasalongstanding

Chapter 3:Russia 241 andnotlimitedtoanimation 240 When the animation ewe eisadfaue.Kntni rni a n fbetween seriesandfeatures. Konstantin Bronzit wasoneof sheer capacity is impressive: aboutseven peryear, hours quality withafocus onthestoriesrather thanstyle. The stable work that isfarfrom flawless but of manufacturer of and wasledby AleksandrBoyarsky. It’s themajorfeatures post-Soviet cinema major producertruly independent of with backing from Sergey Seliyanov. It was perhaps the first Mill’)wasfoundednitsa (‘The inSaintPetersburg in1999 went toleadthenewoutletPchela Bee’]).StudioMel- [‘The MariaMouat (thoughshe eventually lar thelater works of safeharbourfor traditionalpuppetfilms, inparticu- sort of theChristmasstudio. ship of Babakhina’s death, Natalia Dabizhatookover theleader theoriginalcreator Vyacheslav.nochkin, sonof After nineteenth filmwasdirected in2005 by Aleksei Kote- Pogodi! (‘Just You the past decades; the Wait!’) series of the famed Nu the Christmas studio tried to reincarnate scale, indomesticprojects. engaged Amongotherthings, Emmy toOscarnominations. professional recognition, from They brought signsof commissioned work. time they showed therestraints of tic ambitionalongwithmasterfulexecution; at thesame the Russian school and showed genuine artis- the traces of somewhat at contradictory theircore. Many filmscarried resultsThe were impressive, albeitarguably uneven and Dabizha, Mouat, Saakyants, andKaraev, amongothers. ova from the middle generation; and the younger Orlova, ebriakov and Gamburg; Ugarov, Sokolov, and Zyabliak- Russian crews anddirectors–includingtheveterans Ser side andwere tobecreatively implementedgenerallyby decisions, aswell asvoice talents, came from theBritish the World (six 13-minuteThe scriptsand general films). AnimatedTalesin theearly 2000s, yet anothercycle of of Jesus, (The Story) Maker Miraclefollowed, thefeature theTVshortBeowulf The Testament –theBible inAnimation(six26-minuteThen films). ), andOld Seville Barberof FlutetoThe Magic films, from The ute films, from HamlettoTempest), included: nmswsmil h oano Natalia Orlova anda Animos wasmainlythedomainof Lately thestudio hasbeenworking onamuch smaller Shakespeare –theAnimatedTales (twelve 26-min- Canterbury TalesCanterbury inthree filmsand, Operavox (six30-minute - - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 (TeBs ftheWorlds’, originaltitleinLatin) Bestof Mundus (‘The the project at that stage. result The was named obstructed by chatty voice-overs. Aldashinchose toleave fered cutsandreediting, withoriginalsoundtracksoften individual entries were dropped altogether, suf- others a cabby drivingaprovincial manaround theplace. Some showing format, framedtheminaquasi-documentary ers tion showed originalandbrightmini-films. Buttheproduc - well, from PlymptontoSchwizgebel. resulting The collec- foreign directorsas scene. Itattracted agoodnumber of ryone but everyone noteworthy ontheRussian animation submissions were received – representing perhaps not eve- nections toattract talent.Inaboutsixmonths, some50 tive supervisor, usinghisown extensive professional con- crea - the world. MikhailAldashinassumedtheposition of the cityinextra-short subjectscommissionedfrom allover acollective portraitof 1997, cameupwiththeideaof Moscow in of the850thanniversary on theoccasionof series sova (b. Vasilyev’s 1978). Georgy Aeroplan studio made the three minutes each), directed mainlyby Elizaveta Skvort- theWorld’, afewdozenKolybelnye filmsof mira (‘Lullabiesof inasingle,was mostlyengaged yet impressive, artproject: well. MetronomFilm, headedby producer Gotlib, Arsen education andsocialresponsibility as ontheplaneof itself National Children’s Foundation in2008,thuspositioning per year.to 10 hours In addition, it launched the nonprofit oriented projects andtotheatrical features, producing up sequently thestudiodevoted attention tolessinteresting TV- for theproject Smeshariki(208six-minute- instalments).Sub Ilya Popov,agement of wasestablished in2003specifically Anatoly Prokhorov andtheman- the creative supervisionof ferent directors, includingOksanaCherkasova. ber) anddealtprimarilywithherprojects, employing dif- Irina Margolinawithdirector (inpartnership VladlenBar cooperation withotherinstitutions. theneweratoyounger generations, infrequent hurdles of Khizhnyakova, the‘Sverdlovsk carrying school’ through the Soviet times, Valentina administrator of another former Sverdlovsk studio. Itprospered underthemanagementof Yekaterinburg wastheheirtoanimation divisionof course, A-Filmin here besidescommercial ones. of Then, their distinguisheddirectors, projects makingfewpersonal 242 Anatoly Prokhorov, communications personal toMikhailGurevich inFebruary–April, 2013. Producers Dmitry GorbunovProducers Dmitry andAleksandrKuguchin, Computer Animation Petersburg, under Studio of The Studio MIRwasfounded andheadedby thescreenwriter Fiksiki andparticipated inGemMountain. Optimus - years later but hasstillnever beenreleased commercially. and wasreleased in1998;itwasshown at festivals two nteato animation, headmitted, in theartof groups.different Itwasnotparticularlygroundbreaking ented show that wassmartandplayful enoughtoattract especially toproduce theseries Smeshariki,afamily-ori- ComputerAnimation Petersburg wasestablished dio of 2003 tofound anotherstudio. Aswe have seen,theStu- felt hehadexhausted hismissionat Pilotandheleftin scholarly-educational publishing unit. ground for discussions, anumbrella for conferences, anda culturalresearch, withahands-on focus. Itwasaplay- of thetrade. Forphilosophy sometime, of Pilotwasacentre not indoctrinating, studio employees with a specific ing, if addition, heformulated theaestheticprogramme, educat- practicalcreative efforts. In At Pilot,hebecamepartof akind: creative producer inabroader sense. the best, of establish andrun hisnewstudio, and hebecamethefirst, be adamantlyrejected by others. someand perspectives would receive thecloseattention of cussant at production reviews, where hisunconventional at animation guildevents andbeingintroduced asadis- artsinthelate 1970s, theperforming appearing tice of tist withaPhDinphysics, andprac- tothetheory turned Anatoly Prokhorov (b. Oslo, Norway, 1948),acareer scien- Children’s Films Prokhorov, fromScienceto History of the Moscow Tsars theMoscow ). of on different planes (History multiscreen exercise with events developing simultaneously codirector, visualized the entire historiosophic survey in a Park: ). Mikhail Aldashin, with Aleksei Demin as Returning through thepark inlightlyironic old-Soviet nostalgia(Gorky Vadim Medzhibovsky (b. 1956)pictured acouple’s stroll freakish littledevil stealingthe tiny belltower (Two ). Angels subtly stumpedpastelangelssoaringinmidairandthena in Sverdlovsk-Yekaterinburg and in Switzerland) showed (b. 1960). In contrast, Andrey Zolotukhin (b. 1966, worked Tatarsky anddirected by hisunderstudyVasiko Bedoshvili gis-like night;notaccidentally, itwasscriptedby Aleksandr Moscow subway are letlooseinwildplay –stagingaWalpur (or Many individualpiecesdeserve attention. InUnderground Eventually, andmaybe inevitably, Anatoly Prokhorov Having beentaskedby AleksandrTatarsky tohelp ), famous statues and decorative panels of the the Metro-Night), famousstatues anddecorative panelsof Chapter 3:Russia 242 but what was

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Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 led by Montreal-based Productions Pascal Blais. With the in Canadaandproduced by consortium aninternational thesametitle. filmwasmade This Prize-winning novel of Hemingway’s Ernest Pulitzer an animated adaptation of Mermaid’). Studio. In1996,hedirected histhird film,Rusalka(‘The own company inYaroslav, thePanorama Animation Film aRidiculousMan’) andinthesameyear heopenedhis of and in1990wasnominated for anAcademy Award. animated work’. was, inhisown words, ‘thefastestway from thesoulto technique, that would becomehisdistinguishingmark, fingertips,glass plates; usingslow-dryingoilpaintonthis Cow’,(‘The 1989).Hepaintedsuccessive frameswithhis (all at Sverdlovsk studio). Dobro Pozhalovat’! (‘Welcome!’) togetherwithAlexei Karaev by VladimirPektevich) andthefollowing year created artdirector inNoch’Night’,directed (‘The took therole of in a draughtsmanat theArmenfilm Yerevan, in1984he Ivan Ivanov-Vano. time as guidance of After a periodof the VGIK (theworld-famous Moscow school) under the atgraduated age nineteen. He thenstudied cinema at July 1957) studiedpaintingat theYaroslav ArtSchool and merchandizing. mation output,anditwasbuilt almostexclusively on the country. Itwastheonlycommercially successfulani- goods-for-kids emerged in a fullydeveloped market of standing, outtobefeasible onlywhen theseriesturned Good, wittyscriptsandcreative supervisionnotwith- horov thescientistmaintainedarealistic perspective. plane. He considered Smeshariki to be edutainment. Prok- in post-Soviet Russian life on thesocial and cultural really importantfor himwasthat itwasanotable event 200 245 244 243 Aleksandr Petrov Aleksandr Petrov Directors press conference. writings that idealized pre-Bolshevik Russia. Aleksandr Konstantinovich Petrov shouldnotbemistaken for hiscolleagueAnatoly Alekseyevich Petrov. Interview withAleksandrPetrov recorded by ClarissaFilippiniinTurin at theSottodiciottoFilmfestival (Italy)on5December 2009, Ivan Sergeyevich Shmelev (also transliterated Shmelyov, 1873–1950) died in exile in France, after having devoted his last decades to Petrov OldManandtheSea , won anOscarin2000for The In 1992,hecreated Dream Sonsmeshnogocheloveka(‘The Cow’‘The brought attention tohistalent international The first animated first filmThe Petrov directed alonewasKorova

Chapter 3:Russia 244 243 (.Pehso,dsrc fYaroslav, (b. Prechistoe, districtof 17 seconds. Duringthedream, aspecialrole isgiven toan which every image becomes something else in just a few his needfor sufferingandhumiliation. his slothfulretreat from life, himself, and hisdesire toharm toevsky’s characteristic ‘Man from theUnderground’, with ally feltandnotonlyrationally known. allowing that himtounderstand lifeneedsbeemotion- wakes up,The dream heisadifferentsaved person. him, beautyandpurity.by destroying Whenhe of every form heaven, about aperfectworld intohell that hewillturn back home and falls asleep. He dreams about uncorrupted who askshimfor help. After leaving heralone, hecomes for theworld around him.Onenighthemeetsayoung girl that wantstocommit suicide. manfeelsindifference This aman worst nightmares, we empathize of withthestory minds –basically, existence. heexplores themeaningof the philosophicaltopicsthat have always hauntedhuman depth. sufferanceandaspiritual of film akindacceptance though thefilmhasatragicending, thedirector gives the reflecting Platonov’s respect for nature anddestiny. Even sibility for the relationships between menandanimals, after losinghercalf. Intenminutes, Petrov shows hissen- speciallove: hisfirst acow that hasgonecrazy death of involves thepublic withhispassion. fears, reflections, andhopesina romantic atmosphere that and Ivan Shmelev Man’), HemingwayOldManandtheSea’), (‘The Ernest aRidiculous Cow’), Fyodor DostoevskyDream (‘The of works, emphasizingthetopicsthat are importanttohim. andcolourtoliterary subjects: generallyhegives form Love’), hislongestwork (26minutes and35seconds). toRussiareturned andin2006released (‘My Moya lyubov IMAX,whichthe large-format wasasuccessfulchoice. mation FilmStudioinRussia, Petrov created thefilmusing Japan and,obviously, 21of Enterprises thePanorama Ani- DentsuTec., ImagicaCorporation, andNHK help of rmasoyfl fvisions, PetrovFrom creates a film in full of a story thestory, thepublic recognizes partof Dos- In thefirst our Looking at the images that seemtocomeoutof aRidiculousMan’ Petrov confronts Dream In ‘The of a young boy who faces the Cow’ of ‘The is the story In that way headaptedworks by Andrei Platonov (‘The Special attention must begiven toPetrov’s choice of Once The OldManandtheSeawasfinished, The Petrov 245 (‘MyLove’), emphasizingfantasies, Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 zine 6,2007. 247 246 demon).’ thecreature heisrepresenting (agod,a the qualitiesof feelsaninteriorchangemask thisperson andtakesupall important object:themask.‘Whensomeoneputsona the Virgin Mary). afemalesaint (who may be and finally we seethevisionof purity (alambistotallyinnocent,justlikeJesus Christ); see the lamb’s blood that saves men from sin thanksto his ‘Jacob’s stairway’ connecting Earth toheaven. we Then references. Inthemonk’s dream, for example, wesee first very fewspoken words, there are someinteresting biblical monk and a young is told with woman. the story Though by drowning. kill herself whom shedecidedto in herhumanshape, andbecauseof to takerevenge onthemanwhom sheloved while shewas man legendsaboutthemaincharacter, therusalka. Marina Veshnevekaya, it’s inspired by Russian andGer most originalandnew. and Written by thedirector himself the mostemotionaland,for non-Russian spectators, the thehumanmind. ing that Petrov isacareful explorer of love. filmemphasizes The the young man’s feelings, prov- summer, ateenagercalledAntonhastoconfront hisfirst takes placeinthelate nineteenthcentury. Duringone that touches theviewers, thoughiteschews sentimentalism. imagesandsoundsalively realism strong of poetry badluck,Petrov demonstrates asimplebut period of man catches and then loses a large marlin, after a long that Petrov adapted.Inthispieceinwhich anoldfisher ciousness andrespect for nature. isabouttena- OldManandtheSea with abittertaste, The sin. symbol of ‘Death’ must beconsidered asadevil andasthegreatest theplague’s death. doctor, whichmask of isthesymbolof heaven willbegin. tion of means that they will lose their souls, too,- and the corrup the peoplelivinginheaven losetheirown identity, this all someoneelse. Butif identity toacquire theidentityof nAdsi’ nieé,seMkalGrvc,‘lyu ohsiaino Naiveté. MikhailAldashin’,On Aldashin’s- AnimacMaga NotesonWorks ‘naiveté’, seeMikhailGurevich, ‘Playful Sophistication of of Hans Biedermann, Enciclopedia deiSimboli,Garzanti,Milan,2004,p. 294.Hans Biedermann, h imtlstesoyo this betrayal between an old of film tellsthe story The lakes and rivers who wants of rusalka is a mermaid The ispossibly notPetrov’s Mermaid’ ‘The bestfilm, but it’s ‘My Love’ isbasedonShmelev’s shortnovel. story The Hemingway andonlynon-Russian is the first author aRidiculous Man’ leaves thepublic Dream ‘The of If aRidiculousMan’ we oftenseethe DreamIn ‘The of 246 Inthisway, hewho wearsamaskloseshisown - - htdsigihsawr fartfrom asermon. what distinguishesawork of important topics)rather thandelivering themexplicitly. It’s reveal thingsslowly (withimagesandsoundsthat suggest these stories and a unique perspective. He prefers to ing of rfrnefranï look, preference for anaïf by theirwittiness. With thisdebut, Aldashinshowed his an evil spiritwho captures two littlegirls but isscorned Chukchi of andtoldthestory Siberianpeopleof eastern talefromings). Itadaptedatraditionalfairy thenorth- (a.k.a. mate Pehep Pedmanson, hedirected hisofficialdebut, Kele Soyuzmultfilm inMoscow. Here, togetherwithschool- Yuri and other masters. Norstein Hethenworked at the screenwriters, animation division, where he studied under in1989fromgraduated for highercourses directorsand had achance toswitch toamore appealingpath and in1987asalife-actiondesigner.graduated Luckily, he before enrolling at the Moscow film institute VGIK. He time vocational school andserved asadrafteeintheNavy most significantlyfrom the1990son.He attended mari- developed hiscareer the BlackSea,11November 1958) Mikhail Vladimirovich ‘Misha’ Aldashin (b. Tuapse, on Mikhail Aldashin Figure 3.36 His first filmHis first atPilot was sian animators, andin1989hejoinedthePilotstudio. tricks that would distinguishhisfilms. directional ditional styles, smartscripts, andknowledge of Using thesereferences, Petrov- gives understand adeeper bogtAdsi oteatnino otherRus- Kele brought Aldashintotheattention of Keleh, id., 1988; black and white, animated draw -

Mikhail Aldashin. Pums (‘Poumse’, 1990), in which 247 wt h obnto ftra- withthecombination of Chapter 3:Russia

201 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 bined witheconomic,political,andsocialdifficulties. Russian peoplemeant,for years, spiritualhappiness com- metaphor for the newlyobtainedfreedom, which for the even worse. delicate, This touching movie likea appears theworld, where hewilldiscover that thingscanget side of friend and hunts him,so he decidesto escape totheother the outside world. bird An ugly eats his of face the harshness thesoilwithafriendbut immediately hasto that getsoutof star opposingthetanksandCommunist restoration. as Russian president BorisYeltsin rose asthenewpolitical Putsch’, 1991)madewithAleksandrTatarsky inthosedays solution wasathemefor ashortanimation, Putsch (‘The Mikhail Gorbachev that wouldtoitsdis- leadthecountry the secondone, Hunter’,1991). Ohotnik(‘The of aseries that never went further than film was the first works started to be screened festivals. at international This which received awards inRussia andFrance, Aldashin’s the native animalsare happy them.With tokeep ‘Poumse’, things, madewithanimalskins, teeth,andfeathers, and clothes andgoods. primitive The peopleabandon theirold primitive themwithmodern peopleandcorrupts island of an rhythm. An eagermerchant reaches the shore of of sense comics-like characters are animated withasharp 202 248 Figure 3.37 ‘Playful Sophistication’.) animation, and also, perhaps, theunderlying spiritual thrust, which gives meaning toall the elaborate techniques.’very stuff of (Gurevich, the sortsonthisproject) andamentor figure for theentire generation,more Norstein thananyone of embodies thisunderstanding of Aldashin (andeven anadvisor onemasterinparticular–Yuri Russian of A teacher Norstein. school. Andof course, isacelebration of onlythrough drawing –allthis, of –if performing actor’s intoplayfully observations seriousdevices of turn to catch truelifeinthenetof Ti ido attention paidtoconvincing realism insmallmanifestations, thisway toconstructand animate acharacter, kindof ‘This this strive (‘The Other Side’, 1993) is about a worm Storona OtherSide’,1993)isaboutaworm (‘The Drugaya In thesameyear, Soviet 1991,thecoupagainst leader

Chapter 3:Russia

Mikhail Aldashin,Rozhdestvo , ‘Nativity’, 1997. high toneusedtotreat sacred matters, itnever offendsthe ironic, and, while it is far from the usual dignified and in Aldashin’s artisticbackground. It’s theauthor’s intentionalchoice, which findsits roots thehappenings. thepeopleandof size theholynature of presented with realistic features that, by contrast,empha- but alsofrom Mary, Joseph, andtheChild.They are all ral isabsentfrom every character –from Gabrielhimself - thedivinesupernatu lems, andsoon).Infact,thesenseof very ‘human’ angel(heeats fruit,hastofacelandingprob- director, sinceallthelinesstartfrom hisactions. Butheisa likeastage the HolyChild.Gabrielinparticularappears to findasafeplace for thebirth;Magistarttheirtripto mals) toactfollowing theScriptures;andJoseph Mary try narrative lines: Gabriel urges characters (humans and ani- a triumphalsymphony. Thereare at leastthree different the Annunciation by theArchangel Gabrielandendswith new narration with multiple lines. Everything begins with sodes from the Gospels and mixing them together into a considered hismasterpiece, Rozhdestvo (‘Nativity’, 1997). which coproduced withPilotin1997what isstilltoday company. hefounded Then theMishkaanimation studio, scriptwriter, andfilmdirector at the Teko advertising The film tells the story of the birth of Jesus, epi- taking thebirth of filmtellsthestory The F rom 1993to1995Aldashin worked as aproducer, 248 The touch The isgently Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 Fool’, 2004–2005,withOlegUzhinov) andMalchik SPalchik Pro Ivana-Duraka (‘Abouttributed asthedirector of Ivan the traditional talefrom theRussian Federation. Aldashincon- 52animated films, each onetakenfroma large project of Zagreb, Espinho, andHiroshima). at themostimportantworld animation festivals (Annecy, a good rhythm that mixes the gags. plot developed inacomics-likestyleconveying irony and free. movies, asinthefirst Again, we findabittersweet being and somematches willonlygive themtheillusionof inspire aspaceescape, but built thestarship withabottle extra-terrestrial bugswill ficult conditions.The arrivalof bugs triestochange itsdif- Pilot. Inahouse, acolony of Bukashki (‘Bookashkisa.k.a.Bugs’,2002),produced by not quit his authorial activity and in 2002 he released in long-running projects,Although engaged Aldashin did works. ’ at Pilot, supervising a number of director-in-chief November 1999 andAugust 2000. ranonCartoonNetworkKinofilm, theseriesfirst between meets theprincessLuandnative boy Og. Produced by thestudentMikeonaforeign island,where he tures of bers, amongothers. Mike, LuandOgdealtwiththeadven- were directed by AleksandrTatarsky andPilotteammem- 13minutes each). Individualepisodes of 1999, 53episodes vised anAmericanTVseries, Mike, LuandOg(id.,1998– thedecadeAldashinhadcreated andsuper by theendof Sophistication’.) 250 249 usually prevail. find inoldmedieval manuscripts, in which brown andgold Marc but Chagall, withthesamecolourunitythat we of Nativityrecalls theworld but pompous. visuallookof The Vanand Ludwig Beethoven, but theirimpactiseverything scored thefilmwithpiecesfrom Johann SebastianBach esblt fthebelievers. sensibility of 1997–1998, withAlekseiDemin). Moscow Czars’, 1997) andTsari of a.k.a.‘History (‘Csars’, two films, (‘Ant’, Muravey uted tothisproject asdirector of theRussian capital.Healsocontrib- of 850th anniversary extra-shorts from various directorstocommemorate the afewdozen out Aldashin’s participation), acollectionof asthemixed-genrearranged feature OptimusMundus,with- visor totheso-calledMoscow animation project (later H xeiet ihmliiaesltsre,a f rjce notaiinlnraiewnoso Russian icon.’(Gurevich, projected ‘Playful ontotraditional narrative windows of ‘He experiments withmulti-image split-screen, asif At thesametime, thenewlyinfluential Orthodox clericsandideologists wouldn’t exactly praisethefilm. In 2004, Pilot began Gora(‘GemMountain’),In 2004,Pilotbegan Samocvetov a ‘(film) In 1998–2002Aldashinheldthepositionof Together withMikhailShindelandCharles Swenson, In thesameperiod,Aldashinserved asartisticsuper 249 Inthesameway, Aldashin 250 Bugs received awards - -

xiisadnvrgvn pti ae fhiscreative life. exhibits andnever givingupthisfacetof through these years as an artist, participating in numerous introduced. anddevelopment studioreincarnation were strategies of artisticsupervisorat Souzmultfilm, when new bilities of praised andreceived thenational film award Nika. ‘Nativity’,washighly stylistic references tohismasterpiece film for thisseries, Bessmertnyi(‘Immortal’,2012),withslight histypicalrhythm, irony,of anddelicate touch. Histhird folk storiesby means he oncemore explores thenaïveté of (‘Pinkie Boy’, them 2006,withIgorVolchek), andinbothof Figure 3.38 writing anddirecting inMoscow. Duringthat sameyear, ture Institute, inscreen andin1981shefinishedacourse - a detentionandforced labourcampfor Stalin’s opponents. Siberiafounded inthe1930sas Norilsk, acityinNorthern seem tosymbolize Siberia. at sight,herarctic-blue first eyes andsoftsnow-white hair regions.especially theonesfrom thenortheastern Even lovea deep for her country’s culture and traditions, and OksanaCherkasova isessentiallybasedon workThe of Oksana Cherkasova Besides hiswork infilm,Aldashin remained active 2013Aldashinassumed theresponsi- In thespringof In 1976, she graduated fromIn 1976,shegraduated theSverdlovsk Architec- 1951in Oksana Cherkasova on20August was born

Oksana Cherkasova. Chapter 3:Russia

203 Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 tion. This culturetion. This aroused hercuriosityandadmiration. theRussian confedera- from theextreme northeastpartof encounter withChukchi culture, anindigenouspopulation Cherkasova. ent from thesubsequentworks directed andanimated by and round figures, stylisticelementsthat are quitediffer by Dr Seuss. in theCap’,by AlekseiKaraev),takenfrom ashortstory Cat (‘The Kot vkolpake she collaborated inthemakingof 204 officials undertook radicalmeasures towards theirhabitsandland, which ledtosomedramatic consequences. to mystic activities, isafundamental figure.The Chukchi were hithard by theOctober Revolution and itsrationalistic ideology. Soviet qualities to things, giving divine or supernatural considers places, and to the living as well. shaman, a wise healer who The devotes himself many are usedtoanomadiclife. subsistenceisbasedonstockfarming, hunting, Their andfishing.They profess ananimist religion that 253 252 251 she began workingshe began at theSverdlovsk filmstudio. likeable mice. result The ispleasant,thankstoastylized the niceand pered andunpredictable figure), as well asof asaquick-tem- thegod(oftendepicted pleasant portraitof style aswell aswithrespect andconsistency. a Sheoffers Kutkh andthetiny mice. world from theinteractionbetween wasborn thevaliant between fire andsnow, creating theseasons.Therefore, the his hands. god’s The battle angerinaugurates theeternal fromwere Kutkh’s born attempts tosqueeze themice with shakes theEarth,creating mountainsandvalleys. Oceans while thegodis sleeping. violentsneeze The that follows Curious, playful, andfearless, they getintoKutkh’s nostrils frommice were Kutkh’s born ground. onthe first footsteps first anoldman.The lands onit,takingthefeatures of tinually flyingaround theuniverse, bringstheEarthupand and ashaman’s power. con- bigcrow The Kutkh, tired of acrow creation by Kutkh, agodwiththeappearanceof explores theChukchi cosmogony regarding theuniverse Cuckoo’s(‘The 1992).‘Kutkh Nephew’, andtheMouse’ Wingless(‘The Gosling’, 1987), andPlemyannik kukushki gusyonok (‘Kutkhmyshi andtheMouse’,1985),Beskrylyj thesepeopleare: Kutkh i the legendsandmythology of thefilmsshehas worked onsincethen. ture tomany of aboutthathas said,shetransferredwhat cul- shelearned theirlife. Asshe mately connected withotheraspectsof the Chukchi’s spirituallife, andhow thisspiritualityinti- considering inparticulartheelementsthat characterized to studyShe began and research this people thoroughly, hoo es esl(9419) etrkona rSus a aosAeia rtradilsrtro children’s books. SeussGeisel(1904–1991),betterknownTheodor asDr Seuss, wasafamousAmericanwriterandillustrator of studiowasfoundedThe in1943by theSoviet state inSverdlovsk, which today isYekaterinburg. h aoiyo Chukchi peoplelive inChukotka,orKoryakia autonomousregion(s) villagesorinothersmallsettlements; however majorityof The At Sverdlovsk, and most important she had her first Cherkasova succeedsintellingthelegendwithasmooth threeThe Cherkasova films that are most inspired by

Chapter 3:Russia 252 This film is This characterized by vivid colours 251 In1984 253 -

ftheyoung bride intothetraditionalsteambath (banja), of thepreparation couple, anabout-to-be-married andof of thatpoetry distinguishtheRussian director’s work. the refinementand and funny filmthat doesn’t loseany of larities would beseenthrough. result The is afolkloristic placed onarough wooden table, sothat thesurfaceirregu - ings, madeby Valentin Olshvang, were executed onpaper Cherkasova, wrote thescript.Inthiscase, too, thedraw- fear. Nadya Kozhushanaya, friendandschoolmate of in an ironic way, without a disposition that might arouse temperament. Inthiscase, though,they are represented monstrous appearanceandby aspitefulandevil-minded kikimores, femininehomespiritsoftencharacterized by a a greedy man punished by two Bygones’ of tells the story Bath’, 1995). Bygones BeBygones’, 1989)andNyurkina legends andtradition,are outstanding:Deloproshloe (‘Let wooden support toobtainthedesired effect. in 1992.Andrey Zolotukhinmadethedrawings, usinga andhiswork hischarm toher, wasmade ted thesecrets of worked inclosecontactwithareal shaman,who transmit- glycerineluminous effectadding totheink. tin Olshvang, who succeeded increating aspecialsoftand particulartechniqueThis wascreated by theartistValen- nique inspired by theprimitive Chukchi’s rock painting. thewhole, tech- duetothesoundtrackandgraphic of short is–asinherprevious work –theevocative power strange creatures. What is really noticeable aboutthis intoanafterlifeand beginsajourney world filledwith on Kutkh, andon a littleduck without wings that gets lost in 1985. Russian animation dio, was regarded as the best debut of evocative. movie, The madeinsidetheSverdlovsk filmstu- these elements together make the short film music. All of made withanarrative voice andtraditionalChukchi afew, softcolours, andasoundtrack design, theuseof ‘Nyra’s Bath’, themelancholic andmetaphoricalstory Made at theSverdlovsk filmstudio, ‘LetBygones Be Two otherfilms by the Russian author, bothbasedon Cuckoo’s‘The for Nephew’, which OksanaCherkasova Wingless‘The Gosling’isafolkloristic talebasedagain banja (‘Nyra’s Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 with hiswifetotake partintheceremony. mainly for thebride, who isdescribedinthefilmasa young andshy girl.groom Insomelocaltraditionsthe also went tothebanjatogether traditions.beliefs andpagan Inparticular, asit’s represented inthe shortfilm,thebanjahadanimportantfunctioninpremarital rituals, contrast through contactwiththesnow. ancient that were banjawasalsoaplaceusedfor The social purposes related tomagicritualsof birch woodtogether, withswingingoutside, where they soughtthermal relaxing momentsand massagewithsmallbranches alternate of is abuilding separatedfrom thehousesandbuilt with logs;insidethere isastove for producing thesteam.Bathers, menandwomen aplace for relaxation andhygiene. Traditionallythat concealsmeaningfulspiritual elementsintheunmistakablely practicalideaof banja and acareful analysis, togetherwithagreat passion for and lessVivaldian orVenetian. disturbing andmysterious; inother words, it’s very Russian drawing. Oddly (ormaybe not), the atmosphere is covertly mation techniques, amongthemaneye-catching, fineline more refined film butalsobasedoncombinedmanual ani- Petkevich. Cherkasova directed thesecondone, amuch combined manual techniques by BelorussianVladimir van Beethoven Ludwig andisdirected with and work of ‘portrait’ isdedicatedThe first tothelife financial struggles. Production twoepisodesdueto stoppedafteronlythefirst directed by OksanaCherkasova andVladimirPetkevich. great composers, writtenby IrinaMargolina andart- of ‘portraits’ asaseriesof ‘realductory life’section)wasborn tribes studiedby theanthropologist. extreme differences between thecivilized world andthe titlereferstothemanfromThe themoon,symbolizing in factbasedonMikluho-Maklai’s anthropological studies. an OldPiano’,2006). from theMoon’, 2002)andSkazkiStarogo Pianino (‘Tales of on thescreen is noteworthy. thepoet’snineteenth century. words scrolling effectof The the characters andplacesof through therepresentation of Zolotukhin, who wisely restores the Russian poet’s age artist Andrey was alsomadewiththecollaboration of filmfestival.Zagreb Vash Pushkin(‘Yours Pushkin’, 1999) andAnimation prizementary Filmsandthe first at the Silver Dove at theLeipzig Festival International for Docu- movie received several acknowledgements, including the give theshortfilma mystic anddreamlike character.The aspect,togetherwiththesoundtrack,helpsto pencil. This and mademostlyin black and white finished onpurpose sweets. stroke, The by Andrey Zolotukhin,isnot fond of dess who isnotevil-minded but oftenmischievous and There isabaennik,thetraditionalbanja’s sprite, alittlegod- 255 254 depicted initstraditionalway,depicted By MariaTereshchenko. It’s notby chance that Cherkasova dedicatedpractice isintimately ashortfilmtothebanja.This connectedwithRussian tradition Behind each work by thisdirector isathorough study anOldPiano’(which beginswithashortintro- ‘Tales of a Russian scholar; the movie is of isthestory first The Finally, we have Man sLuny(‘The tomentionChelovek 254 isquitedifferent instyle. ognized withnumerous awards. Karpova (Geller’s coauthor)were rec- wifeandpermanent Anna sound,andtheremarkable artwork of treatment of directing, hisoriginal landscape. Hisdistinctive styleof considered avery brightfigure inthe Russian animation same time, wonderful. life issaturated withfrighteningsensations that are, at the –lives adulldailyexistence while hisemotional himself little hero –eitherBuñuel inhischildhood orGeller Love’, 2006)isadirect homagetoBuñuel. The sion of while thebeautifully designedPriznaniye vlyubvi (‘Confes- E.T.direction of A. Hoffmann andAlfred Hitchcock, IgorStravinsky’s music from oldrecordings. hear someof timeismarked byother, setchanges, andwe thepassingof draped inold-fashionedcapesceremoniously bow toeach the-window events resemble astageplay: flattened figurines watches the citysquare life through the window. Beyond- ciations, andcitations. maincharacter The isacat who 2003) isanalmostplotlessfilm, built onfeelings, asso- AstorPiazzolla. music of two thincharacters that live through theirtango, tothe at national festivals. elegiaclove graceful, This shows story from Kislovodsk’, 2000),which received thehighest awards Sverdlovsk, (‘Regards 1970)directed izKislovodska Privet At the Yekaterinburg Geller (b. studio A-Film, Dmitry Dmitry Geller exceptional Russian talents. words, Cherkasova hassecuredof her placeinthehistory tion makes nontraditional, poetic, ethereal film. In other tive andemotionalstrength incommon.Love for tradi- view, havefrom astylisticpointof anexceptional innova- tion. Herfilms, althoughquitedifferent from oneanother Her nameiswithoutadoubtlinkedtotheRussian tradi- the technique andthesubjectsrepresented inthefilms. By the time he made thisthirdGeller was film,Dmitry hidden bows in ‘Little Night Symphony’ is full of Malenkaya nochnaya simfoninya (‘LittleNightSymphony’, 255 Chapter 3:Russia

205

Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 adult toadopthim. acoltthat eventually findsan of told thespiritualjourney thus offendingabout abillionpeopleonEarth(Giannalberto Bendazzi). in French cinema. nominated for theCésar, themostimportantannual prize two years andwas more than70prizes over of thecourse original but naturally comicgags. ‘At theEarth’s End’won GoldRush),Bronzit created asetof lie ChaplinandThe distribution. In this film (which owes somethingto Char which continually leansfrom lefttorightduetheweight peak and are busy tofind abalance trying for their house, an old couple who live on a mountain the everyday life of krayu zemli (‘At theEarth’s film End’,1999).This explores mage, where hecompletedhismostimportantwork: Na tival, Bronzit went toFrance in1998andworked withFoli- theabsurd that won theGrandPrize at theAnnecyfes- of Fedorin Moscow, Khitruk. underthesupervisionof ated from inscriptwritinganddirecting thehighercourses comedy.- to mature In1995,hegradu hisgreat senseof Man’, 1994). AleksandrTatarsky’s influence enabled him Tuk-Tuk (‘Knock Knock’, 1993), and Pustyshka (‘Hollow Moscow, where hecreated Perezhevivay (‘Chew!’,1993), studio Panorama. In 1993, he joined the Pilot studio in Round’, 1988),andthenheworked for two years withthe Tiny Tragedies’) Merry-Go- (‘The for thealmanacKarusel where shortOchen (‘Very hemadehisfirst malenkietragedii dovich Bronzit worked asananimator at Lennauchfilm, 206 258 257 256 inLeningrad Born Konstantin Bronzit poets, thepointwhere languagebreaks off. light andclearpicture, having reached, likegreat Japanese haiku.Hecutoffany excessive contentandmadea of the late Chineseanimation director Te Wei). steny(‘LittlePondvelikoy by theGreat Wall’; dedicated to upodnozhiya prud Saw aCat’) MiceBurying andMalenky tute, hecreated theshortsYa khoronili kota (‘I videl,kakmyshi classes withChinesestudentsat theJilinAnimation insti- Keep HisWord’). In2011and2012,while leadingmaster Vorobey, Sparrow (‘The ThatCould umelderzhatslovo kotoryi We political correctness, but in this case we feel obliged to point out thatto avoid try fun is poked at a Hindu-like divinity, the excesses of Now SaintPetersburg. filmisinspiredThis by Leo aHorseTolstoy’s. novella Kholstomer, of theStory In the slow and hermetic MalchikBoy’, (‘The 2008),he In theslow andhermetic After Geller aimed at making the latter film short, in the form Geller aimedat makingthelatter filmshort,inthe form

Chapter 3:Russia Svichkraft (‘Switchcraft’, 1995),abrilliantcomedy 257 256 on12April 1965, Konstantin Eduar In2010,hemadethechildren’s film - - bet itr h niie eeiyo adivinity.able todisturbtheunlimitedserenity of 2003), afly, another recurrent elementinhisstories, is provoke laughter. For instance in situations and some recurrent elementstoupsetnormal ents aredinner. organizinganelegant Choo-Choocomes on Christmasnight,witholduselessthings, while hispar cha thankless maneven when heisdressed by wealth. ate ananimated world inwhich athanklessmanisstill thecharacters hemanagesto cre- to acareful analysisof atalethatagain tellssomethingabouthiscountry. Thanks film withhisstudiowasKot(‘PussinBoots’,1995), vsapogah Stayer Studio, where he has worked ever since. first The In 1991 Bardin left Soyuzmultfilm and created his own Garri Bardin tle Pigs’,2008). theThreeLit- otrech porosyatachistorya True (‘The of Story tale wellrepainting a fairy known everywhere: like love, bravery, andhonour. imbued withRussian values soul,itspeaksabouteternal thatspeaking horse helpsAloshatocatch Tugarin. Totally poems,popular epic withmany comiccharacters likethe Russianand Tugarin Dragon’, 2004).Itisaparody of film, calledAloshaPopovich iTugarin (‘Alosha Zmey Popovich flowers, which standoutfrom the black and white world. the drawings counteractthecolourful simplicityof The film isaboutthetounderstand whoheis.woman trying gives hersomeflowers, andfrom thispointonthe whole room anddreams aboutlove. Anunknown mansecretly woman works asanattendant inapublic bath - A lonely told with simple blackemotional story and white drawings. Academy Award in2009. Love 2006),for Story’, which hewasnominated for an created Bronzit towork began in2000.With thisstudiohe also film wasproduced by Melnitsaanimated studio, where rni’ im r h sec fthecomedy.Bronzit’s filmsare Heused theessenceof In 1997,Bardin invented his bestcharacter ever: Chu- In 2008, Bronzit made another parody, this time In 2004 Konstantin Bronzit also directed a full-length directorThe considered it is an this film a new step: (‘Choo-Choo’),amagicnursecreated by alittlechild Ubornaya Istoriya – Lyubovnaya istoriya (‘Lavatory Istoriya –Lyubovnaya Ubornaya Bozhestvo God’, (‘The Provdivaya 258 This This - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 matic events inthestory. gives aperfect musical comment to thepainful and dra- areasonis again tokillthedifferent one. the crowd discovers ablack goose, nothingchanges: there and,inthisway,starts livingagain becomesagod.When the white one‘deserves’ tobekilled.Butthewhite goose grey geese. different The coloristhe reason why group of Itisastrongorigami. story. gooseone day A white joinsa (‘Adagio’, 2000),wasbasedonanotherspecialmaterial: these credits. window, towatch thelifeinside. people, andsoon. Mozart’s music tunes:Boccherini’s by dance(interrupted Minuettoduringanelegant PussandKarabasov, who also maimstheVenus deMilo), readapted ’s andsungby theGrey /LouisGuglielmi’s Wolf), Lavieenrose. andEdithPiaf Lucia’s extremely goodandsensitive filmstoo. 265 264 263 262 261 260 259 intheirhumandimension,Hayesmostly depicted and ‘While inmany animated filmsbiblical arecharacters whose father, Jairo, mistrustsJesus’ skills. supernatural Tamara,resurrection, through alittleillgirl, theeyes of Jesus Christ,from miraclestothe thefirst tells thelifeof and ElenaLivanova managedtheartdirection.story The shared thedirector’s chair, MurrayWatts wrote thescript, and the Russians: Stanislav Sokolov and Derek W. Hayes (2000)wasequallydistributedMaker between theWelsh Winter(‘The Tale’), andreceived anEmmy Award. speare’s Tempest’) (‘The tales, Burya Zimnyaya and Skazka of theseriesbasedon Shake- directed two thefirst films Channel4,he with S4CBBCFilm,theWelsh branch of the politicalhappeningsaround him.Incooperation Stanislav Sokolov by wasnotinterrupted careerThe of Stanislav Sokolov fit,which brought himtheGoldBearinBerlin. of adventure –auniversal childish hope. who loves him,plays withhim,andmakes hislifeaspecial the child’s need to have deep someone to life because of Or, maybe, a galaxy of multiple planets-films that he himself would call ‘small houses’, places we could glimpse into, as if through the wouldcall ‘small houses’,placesglimpseinto, wecould as multipleOr, planets-filmsthat hehimself maybe, of agalaxy As a graduation workAs agraduation in1987,hemadeBolero, basedontheclassicMauriceRavel piece. In1992,heundertookaprofessional remake Larisa Malyukova, ‘Ivan Maksimov –AnAnimation kino3(2002). Character’,Iskusstvo Francesco MiracleMaker’,eMotion4,(April–May 2003). Filippi,‘The asmvpeerdt u rdt ohsflsi ohEgihadRsin n etk h nls rnltoso titlesmostly from Maksimov preferred toputcredits and tohisfilmsinbothEnglish Russian, and translationswe taketheEnglish of ihtehl fwell-known music, thedirector oftenlendsahumourous notetohisworks.With InBreak! thepublic recognizes thehelpof Paco de During thefollowing years, Bardin madeChucha 2(‘Choo-Choo2’,2001)andChucha 3(‘Choo-Choo3’,2004),which are both The soundtrackisbasedonAlbinoni’sThe , which Adagio awards, Adazhio Another film that received a number of The mostimportantwork MiracleThe onthefeature The ryWl andLittleRedRidingHoodthere are BertoltBrecht /Kurt theanti-hero, Wolf Weill’sTico ,inGrey Mack theKnife (thesongof Eine KleineNachtmusik duringKarabasov’s falsedrowning, andBach’s Toccata andFugueinDMinorwhen theterriblemaneats 260 259 Israel. Iudejskaya Molitva (‘Shma Israel. Judaic Prayer’, 2003). (‘Prayer “OurFather” from Christians, Jews, andMuslims:Molitva‘Otche Nash’ ing three shorts dedicated to the most popular prayers Molitva (‘Alfa to Right’,1989), but alienated world styleandcreatedan originalgraphic anentire wholesome focus, heenjoyed abroad andalmostcultfollowing. (often allinone, plusascriptwriter)withpure aesthetic Research Centre before studying animation directing. and Technology andthenworking at theRussian Space Physics fromescape graduating the Moscow Institute of physics, hecouldn’t demics highly-reputedinthefieldof aca- fession, which toafamilyof wasalsounusual. Born hisare different andself-sufficient. universe of this separate able, species. Even the physical properties of an ‘animation character’). ful showy(onecriticdefinedhimasessentially personality stand-alone figure inprofessional landscapeandacolour Ivan Maksimov (b. Moscow, 1958)wasa 19November Ivan Maksimov among them.’ and acting different from the other ones, though living Sokolov’s film Jesus isclearly adivine character, speaking mincer andsplitsintobizarrecreatures walking, jumping, music composerMarek Bilin Sokolov continued dealingwithreligious topics, direct- He managedtodevelop maintain andtopersistently Officially, That mightberooted inthepath hetooktohispro- 264 tiha. The MuslimPrayer’,tiha. The 2001),andShma 261 (‘From hedebuted napravo withSleva Left i ucsino famousclassical Puss inBootsisasuccessionof 265 263 basedon a pieceby Polish electronic inhabitedby weirdly strange, but lik-

’, 2000),Al-Fatiha. Musulmanskaya 262 ˊ Anartist-animator-director ski. The moonjumpsintoa ski. The Chapter 3:Russia

207 - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 vniz (‘RainDown from Above’, 2007),andPrilivytuda-syuda and continued withPotop Spate’, (‘The 2004),Dozhd sverkhu started withVeter (‘Wind vdolberega alongtheCoast’,2003) behaviour, and ways toescape. yetgant transparent parable onincarceration, modesof (‘Tonnelage’, 2005), is importantto note. It’s an extrava - funny gags. Amongotherfilmsthat followed, Tunnelirovanie arrogantly waitingtobeingserved, fullof the hurdles of (‘Slow Bistro’, 2002)wasanother‘realistic’ sketch –about onlywith‘android’-like characters.story, Medlennoebistro if Miró andpresents imagery almostaclear-cut romantic of detachedingly style. Strings’,1996)gives Niti(‘The ahint choanalysis, albeitstillinatrademark distilledandseem- Bendzhamina (‘Benjamin’s Libido’,1994)isasatire onpsy- school-day routines andmores. Libido tasmagoria of Pro (‘The naya shkola sen soundtrack. through visuals, always accompaniedwithaprecisely cho- dialog, even ingibberish; everything would beexpressed often quitefunny. Characteristically, hedoesnotneedany like asanexercise inpure movement andpantomime. hangingsomewhereplatform-island indark space, itfeels creatures busy withtheirnolessbizarreroutine, ona strangehalf-zoomorphic controversial fame. Fullof label), propelled him to inside-the-guild immediate and music by BrubeckandDesmond(1990,underthePilot ing for hisbone. Hisnext film5/4,basedonthefamous into a boneand. . .together andturn adogisthere wait- and crawling from lefttoright;at theendthey mixall was widelyknown through festival circles, professional screenings, andthe like. nttt fArtStudiesPublication, 2011. Institute of IvanMaksimov,Moscow, essays andinterviewsby inAleksandraVasilkova, otherauthors State Filmsof See alsothecollectionof World of national animation’. www.animator.ru/articles/article.phtml?id=313). (Aleksey Orlov, visualform.’ ing elitistexquisiteness andmostwidedemocratism of ‘Ivan Maksimov and“Maksimov Phenomenon” in absurd andFreudianism, kinetismandphilosophic parable, combin- He introduced aestheticsof intonational animation modern [. . .] 208 272 271 270 269 268 267 266 interpretations –frominterpretations Freudian toZenBuddhist. ous andeasygoing; notsurprisingly, itprovoked extreme it is notthat obvi - have logic,andthusameaning, even if pure absurd.estrangedworld This islively, anditdoes isnottosay,This however, that Maksimov isthepoetof By DinaGoder. Violinist andlater filmdirector (1922–1997). stateThe Russian languageinstitute inMoscow. TsNIIMASh Machine Building. istheCentralResearch Instituteof Automobiles andRoads State TechnicalMADI istheMoscow Institute of University. ‘He first made accessible for the screen the philosophy of the neutralism and reciprocity of allthings, ataraxyandemotional reserve. theneutralism and reciprocity madeaccessible‘He first for thescreen thephilosophy of Due tomusic copyright issuesthat noonebothered toclearuntilnow, thefilmwasnotdistributed inany thoughit commercial form A brightandfresh Maksimov appeared inthecycle that After thoseearly music toProvintsial’ etudes, heturned Maksimov’s ‘monstrosity’ issoft-takenandgentle, and

Chapter 3:Russia vincial School’, 1992),arough phan- 267 266 ­

by Sofya Abramova Milkina ducky fisherwoman. Itwasinspired by the children’s song cats anda grouphis mostfamousfilm;itisabouta of is romantic andironic at thesametime. they breathe andvibrate, givingtheaudienceafeelingthat handmade style. Hisdrawings seemtolive theirown lives; were madewithwatercolour that gave themadistinctive Russianmen incontemporary animation. Hislastfilms themostpoetic engineering, becauseDeminwasoneof the Atelierfor animated cinemainAnnecy, France. Attraction’);sion (‘The in1997 and in2001heworked at Eventually, in1995,hemadeaseriousdebut withAttrakt - directing inMoscow, studying underKhitruk andNazarov. from he graduated inscriptwritingand thehighercourses series the short film,5-ya 5thLeg’,1992)waspartof noga (‘The and then as the computer lab’s designer. His first extra- MADI mation career working asanengineer. In fact,hestudiedat Aleksei Demin(b. Moscow, 20March 1956) hisani- began Aleksei Demin Direction’, 2012). in cism. Such lyricismreturns, notwithoutmoralovertones, lyri- abound, but what dominates isthegeneraltoneof Chinese orJapanese prints;micro-gags andfunny details designbecomesmoreand land.The more akinto weird meets the elements: wind and water, bestiary sea (‘Tides To andFrom’, 2010).Here hisever-present and he worked at thePushkinInstitute helped himfind work inthepublishing field. From 1983 Pavlova,years hemetIrma awell-known designer, who Koshka poddozhdem (‘Cats UndertheRain’, 2001)was Working inanimation suitedhimmuch betterthan (Ln rdeo Desired Dlinnyi mostvnuzhnuyustoronu (‘LongBridgeof (‘The Cranks’)atChudaki (‘The ChristmasFilms. In1992 269 andthenworked at TsNIIMASh. 268 272 that was performed by that wasperformed her 271 a dtri-he aseditor-in-chief 270 During these Duringthese Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 husband, MikhailShveytser. 274 273 Before hispremature death, hemadethebrightPugovka dark yet lyricalpiece inexquisitely deeply sketchy style. 1920s and 1930s, in Puteshestviye Journey’, (‘The 1989), a the an avant-gardist Daniil Kharms, of to the writings of working asanoccasionalmusic clipmaker. to the US wherethen in 1990 emigrated he continued OlegGrigoryev),the unconventional children’s of poetry Growth’, 1988,on brave piece (Vitaminrosta, ‘Vitamin of years andputtheirnamessolidlyonthemap. rough stylistics. filmhadalmostacult This following for ven infreshly ironic, absurdist humour, withdeliberately which three individuallydirected plotlineswere intertwo- madethejointfilmMedvezhut (‘Bear-Night-Mare’),ers in friendsand cowork- In 1988,at Soyuzmultfilm, atrioof A Trio doing somethingnew. tion andbecauseitshowed Demin’s continuous interest in itsinnova- effect isstrange The but interesting because of paper.like apress clipping andlives over hisown pieceof finally theanimation wasunexpected – every character is the soundtrackcamefrom IgorIlinsky’s recordings; and made withwatercolour by thefilm’s director; second, three elements. drawings First, were art composedof leon’. Inthisoccasion,Demincreated auniquework of inspired by AntonChekhov’s Chame- ‘The shortstory will never forget. the soldier’s sadandthwartedlove for ablack woman he would becomea satirical story, but Demin’s filmwasabout thesametitle. People thoughtthat it sant’s of shortstory craves everything abouttheworld tolearn around him. advicebecauseit maternal animal doesnotunderstand relationship between a bear cub and his mother. young The 2003)andBuatel(‘Boitelle’,2006). Calm Story’, used thesamemoodinhisnext works: Tikhaya Istoriya (‘A Indeed, hedeveloped histendermoodat thistimeand influenced by Shveytser’s storiesabouthisdeadwife. his styleonceandfor allduringthisfilm.Hewasmostly http://www.inoekino.ru/prod.php?id=6203. Mikhail Shveytser (1920–2000) wasanoutstanding Soviet live-action filmdirector. The second, AlekseyThe Shelamnov (1955–2011), turned them,Vasiliy Kafanov (b.One of 1952),madeonemore Ochumelov (id.,2009),wasanotheradaptation. Itwas latterThe issadder. Itwasinspired by GuydeMaupas- isabeautifulandtouching filmaboutthe former The 273 Probably Demindefined prominent architect andprofessor. 2011), asincere andgentle homage tohisown father, a with hisZasnezhennyj vsadnik(‘Snow-covered Horseman’, phantasmagoria. ignites anextremely funny andbrilliantlyinventive ironic MaksimGorky’s classicpoem a classroom reading of Petrel’),val (‘Stormy audienceswithBurevestnik inwhich conventional productions, but in2004heamazed festi- quality time. Later hewasinvolved inanumber of of Soviet symbols, architecture, grand-style andthespirit of ligent andrather radicalexercise incollageexploration adaptation: Sluchai (‘Incidents’,1990)–anintel- Kharms parody sharp andgentlenostalgia. of about evil foreign spiesandchild heroes, withauniqueair (‘Little Button’, 2010),avariation onanold-timesong real through imageandininterpretation painting.’ animator, isto work withdrawn cinemawhich isrooted in essential importance for me, as an artist- words, ‘what is of andpaintingsbyLermontov Vrubel. Inthedirector’s own andfinearts, poetry Demon(2004)isbasedonapoemby of through its visual mythology. in the interbreeding A study archive materials representing thegreat city montage of undertook ver Lionat theVenice FilmFestival forThenshe thisfilm. Slava Polunin in performance. Yevteyeva received the Sil- remarkable mime-actor metaphoric‘portrait’of elegant live footage, Clown’, (‘The Klown 2002)isan mation of Hoffmann motifs. Another exercise inpainterly transfor intoapainterlyactors imagery, Yevteyeva chose E.T. A. live pixilation strivingtotransform mode withavariety of next film,Eliksir (‘Elixir’,1995),madeinamore restrained in collageemploying drasticallydifferent textures. For her about early Mayakovsky poetry, isanunabashedexercise and a Little Nervous’, 1991), on and (‘Horse, Violin . . . tor/director. filmLoshad,skripka. . . Herfirst inemnogonervno scholarly anima- writings–andanindependent author of has aPhDinfilmstudies. Sheisaprofessor, researcher, and formats. Irina Yevteyevaof-cinema forms (b. 1956) for avant-garde animation, with video art and other out- Saint Petersburg appeared tobetheforemost playground In SaintPetersburg In 2012 he triumphed at the national festival in Suzdal third,The Aleksey Turkus (b. 1955),undertookanother Petersburg (2003),exploring possibilitiesinthe Chapter 3:Russia 274

209 - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 take on theLeft-Handed Man story.Trofeynye (‘Trophy filmy Miracles’,1994),wasahighly, albeitgently,cle of ironic Mira- mation projects. Rasskaz o chude iz chudes of (‘Story Mitki (founded in1985),undertooksomeinfluentialani- 1960),artists who belongtothepunkishgroup (both born pini, AlbertoRigoni,andAnnaCatella for theircontributions tothischapter. 210 279 278 277 276 275 rative tone. are marked by unfailingartistictasteandinsightfulnar andanold man.Bothfilms roots aboutalittlemermaid Evening On’, 2009),anunhappy relations withfolk story Rainfrom the pent, andSovechora dozhdik (‘Spatter of a fatal romance between a village girl and a dragon-ser Crawfish’, 2003), basedonalocalgothic-likelegendof made twopieces:Pro importantrakov personal (‘About sketchgentle andelegant Tea House(1998),andhelater He contributed to theOptimus Mundus project with the childhood. sents anunusually hard eye ontherealm of and jealousytowards hermother’s love life, thefilmpre - Kukla (‘PinkDoll’,1997).Builtuponalittlegirl’s fears work. Valentin Olshvang (b. 1961)debuted withRozovaya animatoradism, 1995;andZapiski ‘Animator’s Notes’,2001). thecurrentcondition(Autism,1992;Ainut- exploration of In addition,Sergey Ainutdinov continued hisgrotesque . Italy MaksimGorky’s Tales(id., 2008),anadaptation of of style, 1980s yet anothertouching andfunny subjectinpainterly AlekseiKaraevaddedtohisworksAt A Studio, from the In Yekaterinburg mix media-technique, wasopenlysarcastic. five two-minute subjects in Films’, 2003), a collection of he received anEmmy award for outstandinganimation. ing, impressive andrhythm. initssheerenergy For thelatter the World, distributed by HBO),afull-blown rotoscope paint- the Steel Driving Man (2001, made for Henry inJohn hisartistry Angels (1998),andyet anotherfacetof different aesthetictiltinthesubtlepainterly miniature Two ing wistfulness and buffoonery in tone. He showeda quite (‘Grandma’, 1996),apointedandloving- etudealternat Stanisław IgnacyWitkiewicz, ‘Niemyte dusze’, inDzieławybrane, I,p. 792. Piotr Dumała,Gra wz˙yletki Razors’), Wydawnictwo Male, Warsaw, Gameof (‘The 2000. Katarzyna Bielas, Wstrone˛ Petersburga (‘Toward St. Petersburg’), Gazeta Wyborcza (29August 1997), p. 22. By Marcin Gizycki, translated by Jack Lenk. Giannalberto Bendazziishappy toacknowledge IrinaMargolina, Natalya ClarissaFilip- Lozinskaya, AliceDugoni,LaraErmacora, Wife-and-husband andAleksandrFlorensky teamOlga Andrey Zolotukhin(b. 1966)directed Babushka alsoproduced interestingDesigners-turned-directors

Chapter 3:More AboutIt1 Ya (‘IHearYou’, vasslyshu 1992),andalsoTarantella nmtdTlso Animated Tales of 275 - -

in fdreams, consciousdreaming. sions of dreams. For Dumała,however, cinemaandliterature are exten- them andDumała:thesurrealistsnever referred totheirworks as dreams. Butthere isafundamentaldifference between fantasy of are dreamlike. head Road’. Even thetexts that don’t refer todreams explicitly aDream Salesman’, ‘Dreams. A Talethe Portfolio from of Fern- Dreams’, ‘Fromto someone’s dreams: ‘From theCollectionof storiesthat eitherhave ‘dream’ in the title or relate number of this artist. view. ishment andthendreamt aboutit,’saidPiotrDumałainaninter rjcin fcharacters’ innerstates. projections of bly, realistically, andwe have noreservations that they are onlythe suggestive visuallanguage. Transformations occuralmosttangi- that, Dumała developed his own, exceptionally able. On top of being told.Indreams andanimation, fantasyisnatural, indisput- thestory hismediumtoachieve thedeliriousatmosphere of of theprotagonist intoadog. of with thetransformation in the finale of fragments appears breaking likeafireworkbrittle. intomany A dish tiny, triangular anusurer, borsch precedes awoman themurder oldand of of inCrimeandPunishment,whichtion appears abreaking glass associa- tion, pullsoutarevolver tokillherhusband.A similar is associated withasceneinwhich theheroine, inherimagina- GentleWomansame symbolicessence. InThe , abursting wineglass From Stanisław IgnacyWitkiewicz's Narcotics: surrealistsalsoreferencedThe themechanisms governing the h aeo Razors, Gameof In Dumała’s book,The ‘My film is a kind of dream. As if onehad readCrimeandPun- dream. As ‘My filmisakindof In Dumała’s world, breaking glass oftenseemstoembody the Dumała, withgreat virtuosity, exploits theinherent capacities tdtogt hni xssrgrls fthestated intention. ated thoughtsthenitexists regardless of consciously admittosuch awish,but wheninassoci- itappears is fragilelikeglass, perhapsinsicknessorage).Noonewould kill someone, uponwhose death heiscountingon(andwho thedreamer tounwittingly event itself. awishof Itsuggests because itsymbolizes anessencenotreadily apparent inthe inadvertent bump, itisinexplicably strangeandmysterious, an In adream, whenfallsoffthetable aglass as result of 277 Itikti ttmn od h e otewoewr f this statement holds the key to I think the whole work of Dreams ofPiotrDumała More About It1 Franz Kafka and is associated 278 there isastriking 276 279 - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 281 280 wowe z˙yciewowe , andatelevision kosmosu miniseries. artistreveals The wer , ataleof thropy onit h o,a fintoapiggybank. coin intothebox, asif hallucination andapathy.to astate of theobserver Then drops a thecaptive changes, progressing from fearthrough revolt iour of a box, observed through by apeephole behav aGiant Man.The - Manislockedinasmallspace, claustrophobia. A Tiny study of descent canalsobefound inWalls film is–onthesurfacea . This andothernightmares.giant spiders especially suitable totheextraction, from thecharacter’s souls, of thepinscreen.technique The proved Claire Parker in theiruseof equalled onlyby the effectachieved by Alexandre Alexeieff and replacement by successive imagesasinclassicalcartoons, canbe its oneinitialimage, insteadof of the continuous transformation animation achievedture, by aswell astheincredible fluidity of drawing andtex- realized by any othermeans. densityof The ter boards wasexhibited. Today it’s hard toimaginetheseworks plas- Woman andCrimePunishment,that thefullpotentialof (the filmis black-and-white). craftedspecifically ingly for storiesthat unfold indark tonalities Even inthisfirst work, itwasclearthat thistechnique wasseem- hair, which lovers wreaks havoc unscathed. but leaves apairof real HairsFlying . Itisapoeticandenigmatic taleabouta‘rain’ of where hespecialized instoneconservation. FineArts in Warsaw,conservation at department theAcademy of technique thankstoexperimentsoutasastudentinthe carried apainter’s canvas. Dumałacameupwiththe reminiscent of rich texture,transitions between sequences with a surprisingly wiping over thesamepainting, theartistachieves beautiful,soft tion onplasterboards. Inpaintingandrepainting, scrapingand new materials: anima- nique, more specificallyan explorer of arapaciouscat, likeJekyll intoHyde. intothefaceof transforms Metamorphosis. Finally, inCrimeandPunishment,Raskolnikov’s face clearly also aninsecttransformation, drawn from Kafka’s The sky. InFranz Kafka,apartfrom there is thedogtransformation, Hisdetachedtegration. legbecomesabird andfliesofftothe thewoman from Munch’s paintingScream. of form faces becomeamarketplace, andtheheroine brieflytakesonthe changes shape numerous times, eventually becoming a bed, clock GentleWomansadist. InThe , almosteverything A table transforms. lesspredictably,the grandmother; LittleBlackRidingHoodisa predictably tries to be roles. In Little Black Riding Hood, the wolf shows upinthefilm: exchanging of another importantmotif skins. Hence beasts –orwho, out,onlydonwolf asitturns By BarbaraKosecka, translated by Jack Lenk.‘Kwartalnik Filmowy’ 19–20/1997, Warsaw. Katarzyna Bielas, ‘Wstrone Dumała’s lighterfilmsincludeLittleBlack RidingHood, aFreudian dark, monochromatic visionof That sametypeof It wasn’t untilthetwo Dostoyevsky Gentle adaptations, The of work, ‘plaster’ filmwasthethird first inDumała’sThe body animation tech- Dumała isalsoaninnovator inthefieldof In Dumała’s film,Lycan first is the subject of Metamorphosis , a sleeping man’s, asleeping theLeg body undergoes disin- Freedom of ewolves, into orpeoplewho transform ˛ Petersburga’, p. 22. Ner- ­

Realism of Animation Realism Piotr Dumała’s Franz Kafka– The fhisbeautifuldreams? of working onCrimeandPunishment. for metoexploit animated filmasamedium’,saidDumała while do. Perhaps here ends my autotherapy. opportunity isending The humour. source of thefilmandisitsprimary That contrastconstitutestheessenceof the fable withanextremely simple, almostchildish, drawing style. human soul.LittleBlack RidingHoodcombinesadark version of the one candetecthispredilection for unearthingdark layers of intheseworks asatalentedsatirist-cartoonist, although himself ity. Surrounding thewriterwith thesedetailsfrom dailylife, the things, showing objects in theirobviousness andhyperreal- of cup slowly beingfilledwith milk. astairwell, andonatea- aflashlight,ontheclamour of beam of of amillipede traversing adoorknob bythe strange efficiency insects, onthe streetlamp surrounded by of abuzzing swarm lightfrom ariver, a onthenarrow coneof mering surfaceof reality: onthesunlit,shim- also focuses onthe‘pure’ matter of Dumała subjects itreflects.The black-and-white animation of shadows. With itsdensityandtexture, itilluminates theraw of theimage, thecontrast,andplay but of nal colours onthedepth sense more ‘realistic’. Itconcentrates ourattention notonexter crete reality. grasp,equally difficultto andeach detail referencing a con- very is reminiscent, paradoxically, photography –itsmaterial being of another. film’s The fabric oneartistcontainedinthevisionof of himself: theconsciousness, sensitivity, andthewhole microcosm isindeedalso(always?Kafka only?)aboutDumała film about design we register theseseparateelementsasawhole. Dumała’s thedirector appears. Whetherby chance orby the nameof with dark hair, dark eyes, andanextremely slenderandpaleface. anearly forty-year-old man Franz –aportraitof Kafka of graphs themostpopularphoto- oneof in theseshapesanimpression of heldintheframe, aheadandtorso reading plate thesilhouette of lamp nearby. lightonthepupils, reflected fromsomefaint mering flickerof eyes comealive inanunusual way for animation, through ashim- gaze. The dimensional drawing we instantlyperceive of adepth plaster board between theblack andthewhite. Yet inthisone- eyes drawn ona Actually it’s justasmall,narrow rectangle of ‘I don’t know what know liesahead,I don’t what elseI could rmtedrns mre h aeylt ryfc faman. From thedarkness emerges thebarely lit,grey faceof Using mostlywideshots, Dumałabrings forth thesensuality It isoftensaidthat black-and-white photography isinsome PiotrDumała’s filmaboutKafka, Franz Before shotof thefirst cameraretreatsThe andfor amoment we are able to contem- Chapter 3:More AboutIt1 280 Doesthat meanalsotheend 281

211 - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 facertainconcrete humanloss. of theworld –thereality this casethrough theladen physicality of deeper, more essentialreality containedinthingsorpeople’, a thefilm reveals of aneed for the‘grasp structuredeepest of thewriterandfilmmaker overlap.The where thesensibilities of inner space, effort isnotonlydirected toward the expression of The artist’s film. fantasyandtheconcreteness literary of tion of afunc- certainideasaboutKafka, director). They are thesumof erencing theinsectinbed,ref- imagesof matchliterary (save for thebrief thefilm. which expands thedimensionality of theworld we perceive themasastrong counterpoint ral partof although rather thanregistering themsubconsciouslyas anatu- the sounds are particularly realistic, distorted sounds. Here, allof thevisuals, and willoftenutilize transformed the inventiveness of animated films, correspondingto tive soundtrackof sound. The pulsating lifeforce. expressiveness This isenhancedby theasser ing imagesare soevocative that even inastill facewe canfeela movement.ferent mov fromThe - aDisneyesque choreography of hasamelancholydescribe; theirmimicry peacefulness quite dif- characters moveThe withanelasticfluiditythat ishard to closer tophotography. isalsoamovescenes). This that bringsDumała’s technique astep blots (especiallyin‘urban’ blacks andintroduces theplay of of therendered world, thedirector varies thedensity subtlety of layers change focus andrelative position.Inorder toaddthe out inspace. Inaccordance withcameramovements, thespatial lensfocus. of theriver achieveVltava, clarity untilfinallythesunlitwaves of ther we see, thoughnotyet clearly, abridgeover the arches of frame are wind-swayed tree limbs, completely blurred, thenfur perspective).of Obstructingthe theillusion objects are effectsof subject from thecamera(both‘subject’and‘distance’from other the focus changes withthedistanceof of era lenses),thedegree perspective. Similartoopticsinthehumaneye (andcam- sense of revolutionary inanimation, givingthisfilmadeceptively strong effectisstill animation.strikingdepth-of-field The tradition of dimensionality andconventionality, breaking the tiesthat bindthe two- through drawing. Franz of triestoshatter Kafka thebarriers details. suspended initsfunctionality, imploringwithitsmostenigmatic the film;itisthrough his eyes that we observe thestrange reality, world, asseenby him.Hisperspective isthecentralguidethrough inamirror. world The shownKafka’s inthefilm is ines himself a window, looksat aclockandpaintingsonthewall,heexam- being filled by hismother, heobservesglances through aninsect, looks onist very oftenthroughoutattheteacup Kafka thefilm. theoutsideworld. absurdity of grasp hisinner character throughfilmmaker seeksto thefantastic 212 Mostly, itisdifficulttoascribe tothefilmscenes aconcrete It ishisdrawing andanimation that are mostawe-inspiring. apartments, rooms, andstairwells isalsobuilt of scenery The of things’only It isdifficultto‘bring forththesensuality the protag- scene,Beginning withthefirst we seethe eyes of

Chapter 3:More AboutIt1 Metamorphosis, but its context inthefilmcomesfrom the - - eyes follow, alongwiththeviewer, thesubsequentmetamorphoses the dishbreaking, multiplied by itsecho. whose attentive Kafka, human life, andat theend we finallyhearthedisturbingsoundof disturbed, fallingfor anexceptionally longtimeliketheinfinityof asadog. Whenhe exits theframe, we seetheplate he himself then putsitaway and floats away from thetable, transfiguring He aimlessly tosses a plate in the air so he can spin it on his finger, utensils, ceaselesslytickingclock, andunexpected guests. ing of dishes, clank- he isascribedby the diningtable, theprogression of him. film ‘escaping’from humanityandfrom the‘questions’posed for of the grasp,difficult to escapingourimagination likethehero fantasies, dreams, ultimate andfears. Their sensewillalways be one’s ments, there isenoughdarkness tohidetheentire cosmosof andmoreapart- brighter thanthedimlanterns, sointhegas-lit Prague, where themoon’sOn theevening lightshines streets of to fullyilluminate thescenery. Itismostlydiffusedandundecided. imagery’s ambiguity. lightsource The is abittooweak andmuted palelight,emphasizes the objects barely emerge tocatch of aglint rious. film’s The grey darkness, from which people, buildings, and theimagesisoftenmyste - and hard tograsp, andthesubstanceof perspectives. peculiar exchange of lightina intheauraof image, himself surprising we seeKafka itsfastlegs. Suddenly,ments andintheflow of inavisually vation but alsofascinating andmysterious initscountless move- anobser on aninsect,defencelessandnakedlikethesubjectof lightfalls hero exploringThebeamof hishousewithaflashlight. figure him intoanimals. Inanamazing moment, we see the young the door. onlythefather forcefully opens papers, couldblow intodustif of hismind,poured intoadishevelled stack wholeThe empire of In hisisolation theprotagonist isbothsensitive anddefenceless. ing glimpses, somewhere between thecommonandunreal. life holdsnomeaningfor him–reality exists inindividual,pass- ongoing inhisobservations. thechronology Thus of himself estrangementfrom life,loses Kafka resigned toafaultyroutine of around thetable, andsoon.Notparticipating indaily events, then withastrangesatisfaction hecontemplates aflyrunning underthetable peers toobserve hisfather’s Kafka person. legs, are focused neither on eating nor on interaction with any other across the table from his father, but his attention and his actions city, isalsocompletelydetached. We seehimat dinner, sitting ing maturity –which alsomeansavoiding routine life. avoid- growing responsibility, up, andof things, of thedramaof Franz dramais, This amongother Kafka. the phenomenonof these images comes a tale, all the clearer to viewers familiar with nor dothey signalany connectiontothefollowing ones. From that don’t relate resonance’ toprevious intheir‘external ones, scenes. randomimagesemerge Seemingly from thedarkness of eceel pnsteovoseso thesituation towhich He cleverly upendstheobviousness of threadThe weaving thescenesinfilmtogetherisflimsy Kafka’s reactions are oftenanescapeintofantasiesthat trans- family, while entrenchedKafka, intherhythms home, of and It is difficult to discern alogicalr It isdifficulttodiscern elation amongthe sequence - Downloaded By: 10.3.98.104 At: 04:59 01 Oct 2021; For: 9781315720746, chapter3, 10.1201/9781315720746-3 world. aswell asKafka’s ownaboutthe story aboutKafka, It isastory orliterary references.this filmcannotbelimitedtobiographical belongs strictly to the writer’s imagination. understanding Thus It isdifficulttodistinguishartisticinterpretation from that which theworld. of participating withhiminendlessmetamorphoses things, rather thantheauthor theabsoluteshapeof unsure of nist. Dumała’s filmseemstohave been ‘written’ Kafka’sby hand, their position–they canonlyshow uswhat they see. theirown existence cannotobjectively describeitfrom centre of hands over itsmeaningtous. Any who person collapsesintothe hissurrounding reality,of andwho wastheguidetothistale, 282 narrative. film unrecognisable totheviewer, andsubordinate ittothe the tomakethetechnique used inthecreation of reason, I try ment intheaction,andstiflesemotional response. For this technique disrupts the viewer’s- engage ground. Awareness of they cannothave adrawing, painting orsculpture inthefore- come about. on thescreen are what are important tome, andnothow they films oftenendupbeingdifficultandtime-consuming. Theeffects always tofindthesimplesttechnical try solution available, but my to thefilm’s needs, beitdrama,language, movement, etc. I also From Jerzy Kucia’s typewrittenpages, undated, provided toGiannalbertoBendazziby theartist. In this‘helplessness’thedirector identifieswiththeprotago- Tedaaug fmy films requires believable situations; dramaturgy of ‘The I fitit ‘I useasomewhat different technique for every film. About histechnique, Jerzy Kucia writes: More About It2 eoeteraiaino theanimation andphotography.’before therealisation of music are recordedwith thecomposer. Often,somefragmentsof worked outinthescriptandscreenplay. I begin Then working thesoundis stage.cept dramaturgical, The narrative functionof mapped out,andnotimprovised. together viaphotography. stagewasprecisely photographing The tions), but thefinalvisualeffectwas achieved inbringingthem celluloid andpaper(around 15,000drawings andmany decora- film.Allthevisualmaterial wasmanually doneon frameof single , somefragmentshadoverthe Instruments adozen exposures ona cess. I often apply multiple-depth ormultiple exposures. InTuning introduced inforthcoming exposures inmasksandreverse-masks. laserlight.Colourwas withtheuse of to repeated photographing that material, setting them in loops and cycles, submitting them certainframesfrom filmmaterial.with documentary I selected often difficult techniques. ForParade I mixed drawing oncelluloid my films, however, have appliedmixed and light. Inmostof I and elementswere litwithaconstantupperandback(lower) position while the photos were various taken. The decorations drawn camerawashunginasingle onpaperandcelluloid.The than asatechnique. mation tests, computer interests etc. The me more as a medium is very helpfulintherealisation process, e.g. duringediting, ani- I have usedcomputeranimation very little, thoughthecomputer animation, and even for lasers creating special visual effects. usedvarious cut-out techniques,celluloid and glass. I have light ‘I usuallystartthework ontheaudiolayer at thefilm’s con- stageplays avitalrole photographing ‘The inthecreation pro- my filmsuse simpletechniques.very Reflectionswas ‘Some of ‘In my animation I have usedpaintinganddra Chapter 3:More AboutIt2 wing onpaper, 282

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