DOCSLIB.ORG

Kukla Ve Objelerle Canlandirma Sinemasi

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Kukla Ve Objelerle Canlandirma Sinemasi T.C. MARMARA ÜN İVERS İTES İ SOSYAL B İLİMLER ENST İTÜSÜ İLET İŞİ M B İLİMLER İ ANAB İLİM DALI RADYO TELEV İZYON B İLİMDALI KUKLA VE OBJELERLE CANLANDIRMA S İNEMASI Yüksek Lisans Tezi NESL İHAN BA ŞAK İstanbul, 2007 T.C. MARMARA ÜN İVERS İTES İ SOSYAL B İLİMLER ENST İTÜSÜ İLET İŞİ M B İLİMLER İ ANAB İLİM DALI RADYO TELEV İZYON B İLİMDALI KUKLA VE OBJELERLE CANLANDIRMA S İNEMASI Yüksek Lisans Tezi NESL İHAN BA ŞAK DANI ŞMAN: PROF. DR. AHMET ŞAH İNKAYA İstanbul, 2007 GENEL B İLG İLER İsim ve Soyadı : Neslihan Ba şak Anabilim Dalı : İleti şim Bilimleri Programı : Radyo TV Tez Danı şmanı : Prof. Dr. Ahmet Şahinkaya Tez Türü ve Tarihi : Yüksek Lisans - Temmuz 2007 Anahtar Kelimeler : Animasyon, Stop-Motion, Kukla, Armatür, Canlandırma Sineması, Çizgi Film ÖZET Sinemada dijital ça ğa geçilmeden önceki döneme ait tüm fantastik filmler ve üç boyutlu cansız kahramanların yer aldı ğı bütün çocuk filmleri hep stop-motion tekni ği ile çekilmi ştir. Silikon kuklaların ba şrol oyuncuları oldu ğu bu filmler, tek kare çekim tekni ğiyle filme alınmı ştır. Her bir hareketin foto ğraflanarak ard arda dizildi ği ve yüzlerce karenin birle ştirildi ğinde ancak bir film olabildi ği için uzun metrajlı stop- motion yapımların ortaya çıkması yıllar süren çekimlerle mümkün olmu ştur. Tüm sinema filmlerindeki kamera hareketleri, ı şık teknikleri ve set düzenlemeleri, stop- motion çekimler ile aynıdır. Tek fark canlı insanların yerine kukla karakterler kamera kar şısına geçer. Stop-Motion animasyonlar dünya sinema tarihinde sanatsal de ğere sahip yapımlar olarak yer alırlar. Stop-Motion animasyon, dijital tekniklerin ortaya çıkmasıyla birlikte önemini büyük ölçüde yitirmi ş olsa da günümüzde hâlâ tarihsel fantezi, serüven ya da çocuk filmlerinde zaman zaman uygulanmaktadır. i GENERAL KNOWLEDGE Name and Surname : Neslihan Ba şak Field : İleti şim Bilimleri Programme : Radyo TV Supervisor : Prof. Dr. Ahmet Şahinkaya Degree Awarded and Date : Yüksek Lisans - Temmuz 2007 Keywords : Animation, Stop-Motion, Puppet, Armature, Movie, Cel animation ABSTRACT Before the transformation to the digital era, all fantastic movies as well as the movies for children with 3–D non living characters were shot by the stop–motion technique. Those movie pictures, which were leaded by silicon puppets, were filmed by single frame shooting technique. Since each motion was photographed, arranged consecutively and a whole movie could be created only after the combination of hundreds of frames; long footage stop–motion productions could be created by shootings that took years. The camera movements, light techniques and set arrangements in all movie pictures are the same as those in stop–motion shootings. The only difference here is that the stop–motion uses puppets instead of humans. The stop– motion animations are reputed in the global cinema history as productions with artistic value. Although the stop– motion animation lost majority of its value as the digital techniques emerged, the technique is still applied from time to time for historical fantasy, adventure or child movies. ii ÖNSÖZ Animatörlük bir nevi tanrı olma, yaratma duygusudur. Ka ğıt üzerine çizilen bir karaktere ya şam vererek onu konu şturup atlatarak, a ğlatıp güldürerek tanrısal bir davranı ş gösterir animatör. Bu tanrısal davranı şın en verimli sergilendi ği canlandırma tekni ği şüphesiz stop motion’ dır. Bilinen ve en çok kullanılan malzeme, “kil” yani çamur ile yapılmı ş bir kuklaya, ya şam yaratmaktır. Hollywood ba şta olmak üzere dünya sinema sektöründe kullanılan stop motion tekni ği ile insano ğlu belki de milyonlarca yıldır bastırdı ğı yaratma duygusunu böylece dı şavurabilmi ştir . İstanbul, 2007-08-09 Neslihan BA ŞAK iii İÇİNDEK İLER ŞEK İL L İSTES İ......................................................................................................VII GİRİŞ ............................................................................................................................ 1. KUKLA VE OBJELERLE CANLANDIRMA S İNEMASININ TAR İHSEL GEL İŞİ Mİ 3 1.1. TAR İHSEL GEL İŞİ M .........................................................................................3 2. CANLANDIRMA TEKN İKLER İ 10 2.1. KLAS İK METOD...............................................................................................10 2.2. B İLG İSAYAR GRAF İĞİ ...................................................................................10 2.3. STOP-MOTION VE TEK KARE ÇEK İM MANTI ĞI.....................................13 2.3.1. STOP-MOTION ARMATÜRLER İ VE KUKLALARI.................................16 2.3.2. KUKLA YAPIMI VE MALZEMELER İ........................................................17 2.3.3. ARMATÜR YAPIMI VE MALZEMELER İ..................................................19 2.3.4. KUKLANIN HAREKET İ ..............................................................................20 2.3.4.1. Eylemsizlik kanunu.......................................................................................21 2.3.4.2. Dinami ğin temel ilkesi (F = m. a) .................................................................21 2.3.4.3. Etki-tepki kanunu.........................................................................................21 2.3.5. KUKLANIN AYAKTA DURAB İLMES İ.......................................................22 2.3.6. KARAKTER TASARIMI ...............................................................................23 2.3.7. KONU ŞMA VE SENKRON............................................................................27 2.4. B İR STOP-MOTION ÇEK İMDE PLANLAMA VE ÖN HAZIRLIK 30 2.4.1. PLANLAMA....................................................................................................30 2.4.2. POZ Ç İZELGES İ (X-SHEET)........................................................................31 2.4.3. H İKÂYE, SENARYO VEYAPIM ..................................................................32 2.4.3.1. STORYBOARD ............................................................................................33 2.5 B İR STOP-MOTION F İLM ÇEK İMİNDEK İ TEKN İK GEREKS İNİMLER 35 2.5.1. OBJEKT İF.......................................................................................................35 2.5.1.1. AMAÇLARINA GÖRE OBJEKT İFLER ...................................................35 2.5.1.1.1. Sabit Objektifler ........................................................................................35 2.5.1.1.1.1. Tele Objektifler (Dar Açılı Objektifler) .................................................36 2.5.1.1.1.2. Normal Açılı Objektifler.........................................................................36 2.5.1.1.1.3. Geni ş Açılı Objektifler............................................................................36 2.5.1.1.2. Zum Objektifler.........................................................................................36 2.5.1.2. D İYAFRAM..................................................................................................38 2.5.1.3. ALAN DER İNL İĞİ ......................................................................................40 2.5.2. KAMERA HAREKETLER İ...........................................................................40 2.5.2.1. İNSAN YA DA NESNELER İN KAMERA ÖNÜNDEK İ HAREKET İ......41 2.5.2.1.1. Zum Hareketi.............................................................................................41 iv 2.5.2.1.2. Pan Hareketi ..............................................................................................43 2.5.2.1.3. Tilt Hareketi...............................................................................................44 2.5.2.2. KAMERA’NIN GÖVDE HAREKET İ.........................................................45 2.5.2.3. SON TEKNOLOJ İ İLE FLOW-MOT İON .................................................46 2.5.3. KAMERA AÇILARI.......................................................................................47 2.5.3.1. ÇEK İM PLANLARI.....................................................................................47 2.5.3.1.1. Yüz Tam ekran çerçeve .............................................................................47 2.5.3.1.2. Yüz yakın plan ...........................................................................................47 2.5.3.1.3. Omuz plan ..................................................................................................48 2.5.3.1.4. Gö ğüs plan..................................................................................................48 2.5.3.1.5. Bel plan.......................................................................................................48 2.5.3.1.6. Diz plan.......................................................................................................48 2.5.3.1.7. Boy plan......................................................................................................48 2.5.4. BAKI Ş AÇISI BO ŞLU ĞU...............................................................................48 2.5.5. TERS AÇI........................................................................................................49 2.5.6. SIÇRAMA ETK İSİ .........................................................................................49 2.5.7. I ŞIK..................................................................................................................50 2.5.7.1. ÇE Şİ TLER İNE GÖRE I ŞIK KAYNAKLARI............................................51 2.5.7. 1.1. Tungsten....................................................................................................51
Load more

Recommended publications
  • The Silence of Lorna
    Surviving Life (Přežit Svůj Život) a film by Jan Švankmajer Czech Republic / Slovakia 109 mins/ Certificate 15 DVD release date: June 11 2012 FOR ALL PRESS ENQUIRIES OR TO REQUEST IMAGES PLEASE CONTACT:- Sue Porter/Lizzie Frith – Porter Frith Ltd Tel: 020 7833 8444/ E-Mail: [email protected] FOR ALL OTHER ENQUIRIES PLEASE CONTACT:- Robert Beeson – New Wave Films 10 Margaret St London W1W 8RL Tel: 020 3178 7095/ E-Mail: [email protected] Further information on www.newwavefilms.co.uk new wave films Surviving Life Director Jan Švankmajer Script Jan Švankmajer Producer Jaromír Kallista Co‐Producers Juraj Galvánek, Petr Komrzý, Vít Komrzý, Jaroslav Kučera Associate Producers Keith Griffiths and Simon Field Music Alexandr Glazunov and Jan Kalinov Cinematography Jan Růžička and Juraj Galvánek Editor Marie Zemanová Sound Ivo Špalj Animation Martin Kublák, Eva Jakoubková, Jaroslav Mrázek Production Design Jan Švankmajer Costume Design Veronika Hrubá Production Athanor / C‐GA Film CZECH REPUBLIC/SLOVAKIA 2010 ‐ 109 MINUTES ‐ In Czech with English subtitles CAST Eugene , Milan Václav Helšus Eugenia Klára Issová Milada Zuzana Kronerová Super‐ego Emília Došeková Dr. Holubová Daniela Bakerová Colleague Marcel Němec Antiquarian Jan Počepický Prostitute Jana Oľhová Janitor Pavel Nový Boss Karel Brožek Fikejz Miroslav Vrba SYNOPSIS Eugene (Václav Helšus) leads a double life ‐ one real, the other in his dreams. In real life he has a wife called Milada (Zuzana Kronerová); in his dreams he has a young girlfriend called Eugenia (Klára Issová). Sensing that these dreams have some deeper meaning, he goes to see a psychoanalyst, Dr. Holubova, who interprets them for him, with the help of some argumentative psychoanalytical griping from the animated heads of Freud and Jung.
    [Show full text]
  • The Uses of Animation 1
    The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator.
    [Show full text]
  • Film Appreciation Wednesdays 6-10Pm in the Carole L
    Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced.
    [Show full text]
  • Jan Švankmajer - Wikipedia, the Free Encyclopedia 2/18/08 6:16 PM
    Jan Švankmajer - Wikipedia, the free encyclopedia 2/18/08 6:16 PM Jan Švankmajer From Wikipedia, the free encyclopedia Jan Švankmajer (born 4 September 1934 in Prague) is a Jan Švankmajer Czech surrealist artist. His work spans several media. He is known for his surreal animations and features, which have greatly influenced other artists such as Tim Burton, Terry Gilliam, The Brothers Quay and many others. Švankmajer has gained a reputation over several decades for his distinctive use of stop-motion technique, and his ability to make surreal, nightmarish and yet somehow funny pictures. He is still making films in Prague at the time of Still from Dimensions of Dialogue, 1982 writing. Born 4 September 1934 Prague, Czechoslovakia Švankmajer's trademarks include very exaggerated sounds, often creating a very strange effect in all eating scenes. He Occupation Animator often uses very sped-up sequences when people walk and Spouse(s) Eva Švankmajerová interact. His movies often involve inanimate objects coming alive and being brought to life through stop-motion. Food is a favourite subject and medium. Stop-motion features in most of his work, though his feature films also include live action to varying degrees. A lot of his movies, like the short film Down to the Cellar, are made from a child's perspective, while at the same time often having a truly disturbing and even aggressive nature. In 1972 the communist authorities banned him from making films, and many of his later films were banned. He was almost unknown in the West until the early 1980s. Today he is one of the most celebrated animators in the world.
    [Show full text]
  • Manipulation: Jan Švankmajer´S Animation Technique and Criticism on Civilization
    Manipulation: Jan Švankmajer´s Animation Technique and Criticism on Civilization Haruka Kawakami+ (Japan) Abstract “Manipulation” is an important concept in the films of Jan Švankmajer, an influen- tial Czech surrealist filmmaker. As a surrealist artist who aims for the liberation of humans from any kind of restraint, he insists that people should resist all kinds of societal manipulations. His insistent exposure of manipulation can be seen as a protest against its concealment as a convention. However, the idea of manipulation has more ambiguous meanings in his films. Švankmajer brings inorganic objects to life through careful manipulations, such as stop-motion animation, while applying the same techniques to humans to disrupt their identities. Consequently, both hu- mans and objects are represented as puppets: humans as quasi-objects and objects as quasi-autonomous things. These hybrid puppets expose the contradicting nature of human beings, perpetually in the tension between freedom and restraint. Keywords: Czech-Slovak Surrealism++ Manipulation, Puppets, Stop-motion Animation, Sur- realist Film, Jan Švankmajer, Animation + Haruka Kawakami, doctoral student, Graduate School of Literature and Human Sciences, Osaka City University, Japan. ++ In more recent years, the term Czech-Slovak Surrealism is being used more than the older Czechoslovakian Surreal- ism after Czechoslovakia split into two countries: Slovakia and the Czech Republic in 1993. Manipulation – Jan Švankmajer’s Animation Technique and Criticism on Civilization | 79 Introduction This paper examines the films of Jan Švankmajer (1934-) and the concept of manipulation, which plays a significant role in his works. Švankmajer is a Czech visual artist who has created many provocative artworks in various media, includ- ing mixed-media sculptures, collages, and assemblages.
    [Show full text]
  • Filmographie En Tant Que Producteur Filmography As a Producer
    Filmographie en tant que producteur Filmography as a producer 2015 Cemetery of Splendour (Apichatpong Weerasethakul, 2015 2015 Innocence of Memories: Orhan Pamuk’s Museum & Istanbul (Grant Gee) 2012 Berberian Sound Studio (Peter Strickland) 2012 Mekong Hotel (Apichatpong Weerasethakul) 2010 Loong Boonmee raleuk chat / Oncle Boonmee (celui qui se souvient de ses vies antérieures) / Uncle Boonmee Who Can Recall His Past Lives (Apichatpong Weerasethakul) 2010 Content (TV, Chris Petit) 2009 Phantoms of Nabua (Apichatpong Weerasethakul) 2009 A Letter to Uncle Boonmee (Apichatpong Weerasethakul) 2006 Unrequited Love (Chris Petit) 2005 The Piano Tuner of Earth Quakes / L'Accordeur de tremblements de terre (Stephen & Timothy Quay) 2003 The Phantom Museum: Random Forays Into the Vaults of Sir Henry Wellcome's Medical Collection (TV, Stephen & Timothy Quay) 2002 London Orbital (Chris Petit, Iain Sinclair) 2000 The Sandman (TV, Stephen & Timothy Quay, William Tuckett) 2000 In Absentia (Stephen & Timothy Quay) 2000 The Dilapidated Dwelling (TV, Patrick Keiller) 2000 Asylum (TV, Chris Petit, Iain Sinclair) 2000 Otesánek / Little Otik (Jan Švankmajer) 2000 Negative Space (TV, Chris Petit) 1998 Radio On Remix (TV, Chris Petit) 1998 The Falconer (TV, Chris Petit, Iain Sinclair) 1997 Dance of the Wind / La Danse du vent (Rajan Khosa) – coproduction 1997 Robinson in Space (Patrick Keiller) 1996 Spiklenci slasti / Les Conspirateurs du plaisir / Conspirators of Pleasure (Jan Švankmajer) – coproduction 1995 Institute Benjamenta, or This Dream People Call Human
    [Show full text]
  • Bibliography
    BIBLIOGRAPHY Aagesen, Dorthe. “Stick the Fork in Your Eye!: Ends and Means in Wilhelm Freddie’s Work.” In Bjerkhof, Wilhelm Freddie, 12–97. Abel, Richard, ed. French Film Theory and Criticism: A History; Anthology Volume 1, 1907–1929. Princeton: Princeton University Press, 1988. Abel, Richard, ed. French Film Theory and Criticism: A History; Anthology Volume 2, 1929–1939. Princeton: Princeton University Press, 1988. Aberth, Susan. “Leonora Carrington and the Art of Invocation.” Abraxas, no. 6 (2014): 89–99. Aberth, Susan. Leonora Carrington: Surrealism, Alchemy and Art. Aldershot: Lund Humphries, 2004. Acevedo-Muños, Ernesto R. Buñuel and Mexico: The Crisis of National Cinema. Berkeley: University of California Press, 2003. Acker, Adolphe, et al. “Inaugural Rupture.” In Richardson and Fijalkowski, Surrealism Against the Current, 42–48. Adamowicz, Elza. Surrealist Collage in Text and Image: Dissecting the Exquisite Corpse. Cambridge: Cambridge University Press, 1998. Adamowicz, Elza. Un Chien Andalou: (Luis Buñuel and Salvador Dalí, 1929). London: I.B. Tauris, 2010. Ades, Dawn. Dada and Surrealism Reviewed. London: Arts Council of Great Britain, 1978. Ades, Dawn, Rita Eder, and Graciela Speranza, eds. Surrealism in Latin America: Vivísimo muerto. Los Angeles: Getty Research Institute, 2012. Ades, Dawn, and Simon Fraser, eds. Undercover Surrealism: Georges Bataille and Documents. London: Hayward Gallery, 2006. Adrian-Nilsson, Gösta. “Kubism—Surrealism.” In Wilhelm Freddie och Sverige, 17. © The Editor(s) (if applicable) and The Author(s) 2017 223 K. Noheden, Surrealism, Cinema, and the Search for a New Myth, DOI 10.1007/978-3-319-55501-0 224 BIBLIOGRAPHY “After Revolution, the Shit!: Jan Švankmajer Talks to the Context.” The Context.
    [Show full text]
  • Dukketeater I Film Har Vi Interessert I Å Skape Liv Til Gjenstander Enn I Teknikk Hatt Lyst Til Å Lage Lenge
    TIDSSKRIFT FOR FIGURTEATER 1/2014 - ÅRGANG 32 TEMA: DUKKETEATER ÅND I I FILM HANSKE UNIMAS LEDER OM IDENTITET, UNIMAS LEDER: LEDER: MANIPULA­ SPENNENDE DUKKETEATER SJON OG VEIER VIDERE SOM METAFOR DEN FRIE VILJE HENRIETTE HEDDA HEDDA LIDIJA BLAKSTAD FREDLY ROMUNDSTAD TEMA: 6 3 4 DUKKETEATER ÅND I HANSKE I FILM 1/2014 DISNEY LA MEG FÅ + BUÑUEL PRESENTERE: ISSN 0800-2479 = ŠVANKMAJER SPENNENDE Årgang 32 FINANGEL VIKTORIJA RUDYTE FELESPILLER DAVIES 12 UTGIVER 31 UNIMA Norge VEIER VIDERE -Forening for figurteater LAGER EN DANS MED NO STOP­ DUKKOMENTAR­ DUKKER? HENRIETTE BLAKSTAD Årsabbonement / THOR-ANDRÉ WALLØE MOTION FILM HANNAH THOMAS ANNIE DAHR Kjære medlemmer av UNIMA Norge. Når jeg første omgang gjennom å styrke nordisk samarbeid Styreleder i UNIMA-medlemsskap OG TOR ANDRÉ NYGAARD MORITSGARD nå tiltrer som ny styreleder i organisasjonen vil jeg rundt workshops, konferanser, forelesninger og UNIMA Norge kr. 450,- 18 23 Løssalgspris kr. 100,- 34 først av alt rette en takk til Kenneth Dean for en festivaler. Kommunikasjonen er godt i gang etter Bankkonto fremragende jobb som styreleder de to siste årene, at undertegnede og Hedda Fredly, Ånd i hanskes 1607 55 74294 MIN FIGURTEATER­ THE MAN WHO til Kirsti Ulvestad - vår nye daglige leder, og til et redaktør, deltok på det internasjonale UNIMA- HVERDAG: STRINGS MADE ANGELS HEDDA LIDIJA dyktig styre. Det har vært en meget positiv drift rådsmøtet på Cuba i april 2014 (les mer om møtet ANSVARLIG REDAKTØR: ROMUNDSTAD THOMAS FLY de siste to årene. UNIMA Norge er klar for dagen på side 54). Hedda Fredly HILDEBRAND ANNE STRAY [email protected] 26 28 og fremtiden.
    [Show full text]
  • Jan Svankmajer
    GUIA DE LECTURA BBIBLIOTECAIBLIOTECA GGuíasuías ddee llecturaectura SSeminarioeminario SSvankmajervankmajer Documento elaborado por el Centro de Documentación y Estudios Avanzados de Arte Contemporáneo (CENDEAC) Mayo 2012 1 GUIA DE LECTURA Jan Svankmajer (Praga, 1934) es uno de los cineastas checos más relevantes de la actualidad y, sin ninguna duda, uno de los grandes referentes de la apuesta surrealista contemporánea. Desde sus inicios en el campo del cine durante los años sesenta, sus trabajos han buscado desestabilizar gran parte de los presupuestos que articulan nuestra aproximación al mundo. En ese sentido, él mismo ha destacado que su propuesta artística aspira, por encima de todo, a interferir en el modo en que la realidad, con su dimensión de poder naturalizado, se nos propone y se nos impone. RecurrieRecurriendondo a efectos de distorsión sonora o a juegos de animación heterogéneos, Svankmajer procura romper las coordenadas del mundo tal y como nos vienen dadas, esto es, anhela generar un cierto espacio de liberación subjetiva (ética y política). “Yo planteo -señala él mismo- nuevos interrogantes sobre cuestiones como la libertad o el erotismo, ofreciendo una alternativa a la ideología oficial de las sociedades modernas. Trato de devolver al arte, que se ha transformado en algo meramente figurativo, estético y comercial, a su status primigenio de ritual mágico. Por eso me considero surrealista. Si el arte tiene alguna finalidad, esa es la de liberar tanto al artista como al espectador. Y si no los libera, entonces se convierte en una mercancía o en un juego estético”. Organizado por Asociación Columbares, CENDEAC, Filmoteca Regional Francisco Rabal, Venagua XXI Arte y Conciencia, y Centro Checo Documento elaborado por el Centro de Documentación y Estudios Avanzados de Arte Contemporáneo (CENDEAC) Mayo 2012 2 GUIA DE LECTURA Navega por el índice ÍNDICE 1.
    [Show full text]
  • Kamera.Co.Uk - Interview - a Quick Chat with Jan Svankmajer and Eva Svankmajerova by Jason Wood 2/18/08 6:26 PM
    kamera.co.uk - interview - A Quick Chat with Jan Svankmajer and Eva Svankmajerova by Jason Wood 2/18/08 6:26 PM interview | FILM NEWS | FILM REVIEWS | BOOK REVIEWS | FEATURES | INTERVIEWS | FORUM | DIRECTORY | BOOKSHOP | BLOG | WHO WE ARE | home : features : interviews : A Quick Chat with Jan Svankmajer and Eva Svankmajerová A Quick Chat with Jan Storyboards Inc., Artists Svankmajer Storyboard Artists for and Eva Advertising, Film, Commercial and Svankmajerová Animatics www.storyboardsinc.com by Jason Wood Systemize Your Business Free "Business BluePrint". Five simple steps to Jason Wood: You seem to often work from myths and systemization. fairytales. How did the tale of Otesánek first come to www.businessdesigncorp.com your attention and what was it about it that made you Related feel that it was suitable for a film treatment? Links Little Otik - Jan Svankmajer: I first started work on this particular Myths IMDB myth in the middle of the 1980's when I wrote a story Huge selection of Myths based on the myth. But even earlier than that, the story items. was brought to my attention by my wife Eva. Eva wanted Yahoo.com Merchandise to make an animation film from the story and it was a Links story that I too liked very much. It is true that I often work from old fairytales, which are narrated cosmological CNN Money - myths. This myth of Otesánek is a very old and basic Entrepreneurs Get Top Entrepreneurs myth of civilization that goes as far back as Faust and Stories & Finance, maybe even earlier. It concerns the rebellion against Investment & Business nature and the tragic consequences of that rebellion.
    [Show full text]
  • VIDEOS Title Creator Summary Format Call Number in This Cirtically-Acclaimed, Stop Motion Annimated Feature
    VIDEOS Title Creator Summary Format Call Number In this cirtically-acclaimed, stop motion annimated feature. Dave Peck, an unemployed 28-year-old with no goals or aspirations, finds an ad for a book promising the meaning of life for only $9.99 Rosenthal, Tatia (1971 - ) DVD PN1997.2 .N55 DVD 2010 $9.99. Wishing to share his discovery, his path crosses with those of his unusual neighbors, who in their own bizarre ways, are all on their own search for hope and redemption. 11 Alive at Five Interviews with 11 Alive at Five VHS 1991 CPA PRES 11 ALIV Kerry McCarthy and Peter Hart 11 Alive Neighborhood 11 Alive Neighborhood Weather, Weather, November 12, 1996, 11 Alive November 12, 1996, Center for VHS 1996/1997 CPA PRES NEIG Center for Puppetry Arts Puppetry Arts 11 Alive News Story on Power of 11 Alive News Story on Power 11 Alive Wonder and Pinocchio, on September VHS 1995/1996 CPA PRES 11 POW of Wonder and Pinocchio 29, 1995. Czechoslovak-American 12 Sandals 99 VHS 12 SAND 99 Marionette Theatre 1980 Wayland and Madame WAYL MADA INTE DICK DVD Interview by Dick Maurice MAUR Footage from the 1992 Southeast 1992 Southeast Regional Regional Festival held in Charleston, VHS 1992 SE REGI FEST Festival South Carolina from July 30-August 1, 1992. Footage from the 1992 Southeast 1992 Southeast Regional Regional Festival held in Charleston, VHS 1992 SE REGI FEST 1 Festival Tape 1 South Carolina from July 30-August 1, 1992. Footage from the 1992 Southeast 1992 Southeast Regional Regional Festival held in Charleston, VHS 1992 SE REGI FEST 2 Festival Tape 2 South Carolina from July 30-August 1, 1992.
    [Show full text]
  • Jan Švankmajer
    Jan Švankmajer By Jan Uhde Spring 1994 Issue of KINEMA JAN ŠVANKMAJER: THE PRODIGIOUS ANIMATOR FROM PRAGUE The Czech animated-film director, visual artist, and surrealist Jan Švankmajer is one of the most remarkable filmmakers of the last three decades. The influential French film journal Positif considers him, together with the famous Russian animator Yuri Norstein (Tale of Tales), ”a giant of contemporary film.”(1) The British film critic Julian Petley calls him, along with the Polish directors Jan Lenica and Walerian Borowczyk, ”...one of the key animators to have emerged in Eastern Europe since the war.”(2) Born in 1934, the sixty-years-old director embarked on his filmmaking career in 1964; since then, he has made more than twenty films, mostly shorts.(3) His works are regularly featured at major international competitions, including Annecy, Berlin, Cannes, Mannheim, Toronto, and Oberhausen.(4) For his films, Švankmajer has received over thirty festival prizes and honours. Unfortunately, Švankmajer’s philosophically profound, visually rich and stylistically innovative work is little known beyond the relatively narrow circle of well-informed or specialized audience. In his native Czech Republic, the distribution of most of his films was suspended shortly after the 1968 Soviet-led invasion of Czechoslovakia(5) and for the rest of the 1968-1989 period, it was severely restricted; Švankmajer’s bizarre, of- ten grotesque style and his surrealist perspective were politically undesirable in the post-invasion atmosphere of cultural repression.
    [Show full text]