From Doodles to Pixels_ Over a Hundred Years of Spanish Animation INDEX_ ThE PROject - pag. 4 PROjECT FORMAT AND CALENDAR - pag. 5 Session 1. DOODLES - pag. 6 Session 2. UNDER ThE YOKE - pag. 7 Session 3 .MODERN TIMES - pag. 8 Session 4. MACIÁN, ThE MAESTRO - pag. 9 Session 5. ThE ARTIST’S TRACE - pag. 10 Session 6.hUMOR AND CARNAGE - pag. 11 Session 7.DESTINO hOLLYWOOD (AND bEYOND) - pag. 12 Session 8. NEXT GENERATION - pag. 13 FILM PROGRAMME’S TEChNICAL DATA - pag. 14 FILMS MATERIAL’S SOURCE - pag. 16 ThE CURATORS - pag. 18 contact information - pag. 19 Estudios Chamartin at Casa Batlló, Barcelona, 1940’s. Archivos Filmoteca Española. From Doodles to Pixels Over a Hundred Years of Spanish Animation FILM PROGRAMME CURATOR: Carolina López DVD PRODUCTION: Cameo, CCCB and AC/E CONSULTANTS: Andrés Hispano, Emilio de la Rosa WITh ThE COLLAboration OF Filmoteca de Catalunya, and Alfons Moliné Filmoteca Española, Movierecord, Tres60 Bcn, Lobster Films COORDINATOR: Cloe Masotta ORGANIZATION: Audiovisual and Multimedia Department COORDINATOR AC/E: Anael García CCCB. Director, Ángela Martínez. Estudios Moro Commercials (1954-1964) PRODUCTION: CCCB and AC/E Todas prefieren… (Medias Jenny), José Luis Moro, 1958 2 3 ThE PROjECT_ Format AND FILM PROGRAMME CONTENTS_ From Doodles to Pixels. Over One Hundred Years of Spanish Animation is The film programme, curated by Carolina López, charts a course through a a response to the desire to showcase a little known history—that of Spanish selection of the landmark works of Spanish animation of all times. animation cinema. Films like Chico & Rita (Javier Mariscal, Fernando Trueba y Tono Errando, 2010), Las aventuras de Tadeo Jones (Enrique Gato, 2012) The cycle includes historic films (from 1908 to the end of the dictatorship or Pos Eso (Sam, 2014) have put Spanish animation on the international in 1975) and contemporary shorts (from 1975 to the present day). This map, but these examples are just the tip of the iceberg of the talent and has involved the restoration and digitization of works that were previously years of hard work involved in creating art and industry, in some cases “invisible” because of their condition or the difficulty of accessing them, against all the odds. This cycle is the result of a task of research, revision using the best possible materials in each case. and recovery of historical material in dialogue with more recent works. The travelling film programme includes 63 works by different filmmakers, From Doodles to Pixels is a coproduction of the CCCB and AC/E that plus a selection of 17 commercials by Estudios Moro, and comprises six brings together a selection of films animated using diverse techniques that sessions of short films, with an approximate duration of 70 minutes and two represent turbulent times ranging from the early twentieth century to the sessions of feature films. present day. It features recurring themes such as links with the world of comic books, reflections of political concerns and dialogue with the visual The programme comes with a triple DVD-digipack accompanied by a booklet arts. with texts by the curator and other experts, and full information about the works and authors represented (in English and in Spanish). It’s a story with lots of gaps and isolated landmarks (Europe’s first animated colour feature was Garbancito de la Mancha), dotted with forgotten The touring cycle will be available from June 2015 to June 2018. All the films works; for years, it seemed as though Spanish animation hardly existed. This in the original version with Spanish and English subtitles programme shows that nothing could be further from the truth. Great care has been taken to choose works representing each time period and trend, as well as highlighting Spain’s idiosyncrasy with all its cultural diversity. ‘La doncella guerrera’, 4 5 julio Taltavull, 1974 Session 1. DOODLES_ Session 2. UNDER ThE YOKE_ (Duration: 81 min) (Duration: 68 min) The programme starts out with a short by Segundo de Chomón, the To carry out this project, the Balet y Blay studios brought in cartoonist illustrious pioneer who worked in Spain, France and Italy. His short The Gold Arturo Moreno and handed over the script to Julián Pemartín, author of Spider is one of the most admirable pieces in his filmography with some Teoría de la Falange. Garbancito is a young Catholic orphan boy who lives stunning animation sequences for the time. Some vintage promotional spots in a barn with his goat Peregrina. One day, the ogre Caravaca kidnaps his using nitrate film were collected for this event, like Radio RCA (around 1935) friends and just like Don Quixote, he courageously sets off to save them. by Enrique Ferrán, created in Barcelona during the Second Spanish Republic. Even though the film is influenced by the Fleischer brothers and Disney’s A few ads by the productive Mr. Serra I Massana and other more satirical Silly Symphonies, the soundtrack composed by Jacinto Guerrero gives unknown artists, La bronca and Cambó i l’autonomia (around 1918), were it a typically Spanish edge. The film was popular before it even hit the also restored. These films demonstrate the strength of on-screen graphic screens, due to the tale written by the same two authors. It was also given humour. K-Hito (En los pasillos del congreso, 1932) and José Escobar (El a higher budget than live action films made at the time, which was quickly fakir González) were both writers and directors. During this period, political, recouped through its range of by-products. Shot in Barcelona with a crew social comics were all the rage. Later, Javier Mariscal (Chico & Rita) and of professionals who were learning as they went along, the film was sent Calpurnio Pisón, two other popular contemporary cartoonists, started to London for editing. The rolls of film then flew over the blood and fires of making animation films based on their trademark characters Los Garriris Europe one more time, escaping the bombardments, and the feature was and Cuttlas. released in theatres in 1945. L’Araignée d’or, Segundo de Chomón, 1908, 8’40’’ Garbancito de la Mancha, Arturo Moreno, Spain, 1945, 68’ (A film from the Lobster Collection) All audiences. En los pasillos del congreso, K-Hito (Ricardo García), 1932, 2’ Alimentos de régimen Santiveri, Josep Serra i Massana, 1932-1935, 2’11’’ Tabú, colorete en polvo, Josep Serra i Massana, 1933, 1’08’’ Radio RCA, Enrique Ferrán, circa 1935, 2’ El fakir González buscador de oro, Joaquim Muntañola, 1942, 8’12” juanito va de caza, Salvador Mestres, 1942, 8’ El cascabel de Zapirón, Josep Escobar, 1943, 8’ Don Cleque flautista,Jaume Baguñà, 1944, 8’12’’ Garabatos: Manolete, Jaume Baguñà y Manuel Díaz, 1943-44, 8’ Los tambores de Fu-Aguarrás, Jaume Baguñà, 1945, 9’10” El bueno de Cuttlas, Calpurnio Pisón, 1991, 8’48” Amarillo verano, Javier Mariscal, 2013, 4’40” All audiences. ‘L’Araignée d’or’, ‘Radio RCA’, ‘Garbancito de la Mancha’, Segundo de Chomón, 1908 Enric Ferrán, circa 1935 6 7 Arturo Moreno, 1945 Session 3 .MODERN TIMES_ Session 4. MACIÁN, ThE MAESTRO_ (Duration: 82 min) (Duration: 76 min) Together with industrial development and the expanding middle class, A distinguished Spanish animator, Francisco Macián (Barcelona, advertising began to flourish and found a language in animation that was 1929-1976) created his own studio in Barcelona in 1955 where he created able to attract these new consumers. Estudios Moro, based in Madrid, commercials for Estudios Moro. In 1966 he directed his first feature:El mago became THE company for advertising films in Spain, producing thousands de los sueños (The Dream Wizard), inspired by Andersen’s fairy tale Ole of animated and live action commercials, created by such names as Lukøje. This story and its characters La Familia Telerín became popular in Pablo Núñez, Paul Casalini, Marcel Breuil and Francisco Macián. A North Spain thanks to a promotional filmVamos a la cama (1965) for TVE (Televisión American treatment was the order of the day, but was given a more stylish, Española). Macián’s film, full of Disney references, was driven by the work of modern and jazzy look, similar to that of the UPA studio. The illustrator José Salvador Mestres, Jaume Vila, Jordi Gim, Albert Rué and Carmelo Garmendia Luis Moro and his producer brother, Santiago, best reflect this trend, and y Vicar (also the creator of the El mago character), as well as the modern and together wrote one of the most exciting pages of Spain’s popular culture. identifiable character designs by José Luis Moro. The soundtrack features Some of the best work to come out of Moro highlights this programme, children’s voices as well as artists from the era like Los 3 Sudamericanos, whether from its stock of internationally acclaimed commercials or the Chicho Gordillo, Ennio Sangiusto and Los de la Torre. Josep Solà wrote the unforgettable Vamos a la cama (1965). Other work focuses on ensuing music and despite the fact that this was his first opera and considering decades with films by Robert Balser, Julio Taltavull, and, closer to home, the technical difficulties they ran into during production, it’s some of the Isabel Herguera, Adriana Navarro, Carles Porta and Miguel Gallardo. most well-loved music from Spanish animation history. Two of Macián’s commercials from the ‘50s will be screened before the film. Estudios Moro commercials, 1954-1964, 16’29” Vamos a la cama, José Luis Moro ,1965, 36” buena mesa (aceite Koipe), Francisco Macián, 1955-57, 1’08” El sombrero, Robert Balser, 1964, 8’15” Sinfonía escarlata (tomate Corchero), Francisco Macián, 1958, 1’10” La doncella guerrera, Julio Taltavull, 1974, 11’39” El mago de los sueños, Francisco Macián, 1966, 70’ William Wilson, Jorge Dayas, 1999, 10’28” All audiences La gallina ciega, Isabel Herguera, 2005, 7’17” Las vidas ejemplares, Carles Porta, 2008, 11’24” El viaje de María, Miguel Gallardo, 2010, 5’42” Vía Tango, Adriana Navarro, 2013, 321” Onemoretime, José González, Tonet Calabuig y Elisa Martínez, 2014, 5’ All audiences.