Everyone feels the pressure to improve their lifestyle for New Year's Eve, including Catwoman's alter ego, Seline Kyle. Reflecting on her existence leads her to give up her life of crime, but not before 'borrowing' a designer necklace for her New Year's Eve party. When a crime lord orders the return of the jewelry, can she keep her resolution while fighting for her life?
Colin Bankeston makes documentaries, promos and music videos. He's a skilled cameraman and editor, with work shown on many UK TV channels including the BBC and ITV.
Repo man is back!
Do you remember the 1980's cult film “Repo Man”? Now it has an official sequel "Waldo's Hawaiian Holiday" - in graphic novel form... with a script by original writer/director Alex Cox. It issued by Gestalt Comics.
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Taxi to the Dark Side (2007)
Taxi to the Dark Side is a serious film about the future of America. It may be shocking and disturbing as its title implies, because the subject matter is torture as a weapon of choice in the War Against Terror, but it has great visual grace and assurance: Gibney edits the material for maximum clarity and impact. His shots are beautiful and unexpectedly tranquil.
The case of Dilawar, an Afghan taxi driver, beaten to death in 2002 while in U.S. military custody forms the heart of this examination of the abuses committed during the detainment and interrogation of political prisoners. The film uncovers an inescapable link between the tragic incidents that unfolded in Bagram and the policies made at the very highest level of the United States government in Washington, D.C. Combining the cool detachment of a forensic expert with the heated indignation of a proud American who holds his country to a high standard, Gibney’s film reveals how the Bush administration has systematically betrayed the very ideals it professes to uphold.
From Dilawar's sad and purposeless death Gibney spirals his story outward to encompass the whole of the Bush administration's post-9/11 attitude toward torture, detention, and the rules of war. Far from being a leftist cry of hysteria, it deliberately and devastatingly lays out its case through interviews with and news footage about a wide range of subjects: fellow prisoners at Bagram; Carlotta Gall and Tim Golden, who reported on Dilawar’s story for The New York Times; etc.
You can buy Taxi to the Dark Side
.
From Dilawar's sad and purposeless death Gibney spirals his story outward to encompass the whole of the Bush administration's post-9/11 attitude toward torture, detention, and the rules of war. Far from being a leftist cry of hysteria, it deliberately and devastatingly lays out its case through interviews with and news footage about a wide range of subjects: fellow prisoners at Bagram; Carlotta Gall and Tim Golden, who reported on Dilawar’s story for The New York Times; etc.
You can buy Taxi to the Dark Side
.
The Pearce Sisters (2007)
The Pearce Sisters, directed by Aardman director Luis Cook, tells the black-hearted tale of two weather-beaten old spinsters who live on a remote strip of coast and eke out a rather dismal existence from catching and smoking fish. One day they heave a half-drowned sailor out of the sea and set about reviving him – but when he fails to appreciate their efforts, a dark and grim aspect of the sister’s way of life is revealed…
Luis Cook wanted somehow to mix 3d cgi with 2d. So he animated everything in the computer with cg models and then printed the frames out and worked them over in 2d. He then filled in the details and expressions and scanned it all over again in 3d. The 3d gives the characters a sense of reality, weight and volume which is important to the narrative. To hold it all together aesthetically Cook produced a fully rendered design for all 180 of the shots. The backgrounds were taken from the Photoshop layers as were all the textures placed on the models.
Dialogue-free and chock-full of animation, the characters are harsh and unpleasant in appearance. Every detail is visible, from the strands in a bundle of fish nets to the rain beating on their weathered faces.
Dialogue-free and chock-full of animation, the characters are harsh and unpleasant in appearance. Every detail is visible, from the strands in a bundle of fish nets to the rain beating on their weathered faces.
BAFTA awards 2008
BEST FILM
AMERICAN GANGSTER – Brian Grazer/Ridley Scott
ATONEMENT – Tim Bevan/Eric Fellner/Paul Webster
THE LIVES OF OTHERS – Quirin Berg/Max Wiedemann
NO COUNTRY FOR OLD MEN – Scott Rudin/Joel Coen/Ethan Coen
THERE WILL BE BLOOD – JoAnne Sellar/Paul Thomas Anderson/Daniel Lupi
BEST BRITISH FILM
ATONEMENT – Tim Bevan/Eric Fellner/Paul Webster/Joe Wright/Christopher Hampton
THE BOURNE ULTIMATUM – Frank Marshall/Patrick Crowley/Paul L Sandberg/Paul Greengrass/Tony Gilroy/Scott Z Burns/George Nolfi
CONTROL – Orian Williams/ Todd Eckert/Anton Corbijn/Matt Greenhalgh
EASTERN PROMISES – Paul Webster/Robert Lantos/David Cronenberg/Steve Knight
THIS IS ENGLAND – Mark Herbert/Shane Meadows
THE CARL FOREMAN AWARD for Special Achievement by a British Director, Writer or Producer in their First Feature Film
CHRIS ATKINS (Director/Writer) – Taking Liberties
MIA BAYS (Producer) – Scott Walker: 30 Century Man
SARAH GAVRON (Director) – Brick Lane
MATT GREENHALGH (Writer) – Control
ANDREW PIDDINGTON (Director/Writer) – The Killing of John Lennon
DIRECTOR
ATONEMENT – Joe Wright
THE BOURNE ULTIMATUM – Paul Greengrass
THE LIVES OF OTHERS – Florian Henckel von Donnersmarck
NO COUNTRY FOR OLD MEN – Joel Coen/Ethan Coen
THERE WILL BE BLOOD – Paul Thomas Anderson
ORIGINAL SCREENPLAY
AMERICAN GANGSTER – Steven Zaillian
JUNO – Diablo Cody
THE LIVES OF OTHERS – Florian Henckel von Donnersmarck
MICHAEL CLAYTON – Tony Gilroy
THIS IS ENGLAND – Shane Meadows
ADAPTED SCREENPLAY
ATONEMENT – Christopher Hampton
THE DIVING BELL AND THE BUTTERFLY – Ronald Harwood
THE KITE RUNNER – David Benioff
NO COUNTRY FOR OLD MEN – Joel Coen/Ethan Coen
THERE WILL BE BLOOD – Paul Thomas Anderson
FILM NOT IN THE ENGLISH LANGUAGE
nominations announced on Friday 4 January
THE DIVING BELL AND THE BUTTERFLY – Kathleen Kennedy/Jon Kilik/Julian Schnabel
THE KITE RUNNER – William Horberg/Walter Parkes/Rebecca Yeldham/Marc Foster
THE LIVES OF OTHERS – Quirin Berg/Max Wiedemann/Florian Henckel von Donnersmarck
LUST, CAUTION – Bill Kong/James Schamus/Ang Lee
LA VIE EN ROSE – Alain Goldman/Olivier Dahan
ANIMATED FILM
RATATOUILLE – Brad Bird
SHREK THE THIRD – Chris Miller
THE SIMPSONS MOVIE – David Silverman
LEADING ACTOR
GEORGE CLOONEY – Michael Clayton
DANIEL DAY-LEWIS – There Will Be Blood
JAMES McAVOY – Atonement
VIGGO MORTENSEN – Eastern Promises
ULRICH MÜHE – The Lives of Others
LEADING ACTRESS
CATE BLANCHETT – Elizabeth: The Golden Age
JULIE CHRISTIE – Away From Her
MARION COTILLARD – La Vie en Rose
KEIRA KNIGHTLEY – Atonement
ELLEN PAGE – Juno
SUPPORTING ACTOR
JAVIER BARDEM – No Country for Old Men
PAUL DANO – There Will Be Blood
TOMMY LEE JONES – No Country for Old Men
PHILIP SEYMOUR HOFFMAN – Charlie Wilson’s War
TOM WILKINSON – Michael Clayton
SUPPORTING ACTRESS
CATE BLANCHETT – I’m Not There
KELLY MACDONALD – No Country for Old Men
SAMANTHA MORTON – Control
SAOIRSE RONAN – Atonement
TILDA SWINTON – Michael Clayton
MUSIC
AMERICAN GANGSTER – Marc Streitenfeld
ATONEMENT – Dario Marianelli
THE KITE RUNNER – Alberto Iglesias
THERE WILL BE BLOOD – Jonny Greenwood
LA VIE EN ROSE – Christopher Gunning
CINEMATOGRAPHY
AMERICAN GANGSTER – Harris Savides
ATONEMENT – Seamus McGarvey
THE BOURNE ULTIMATUM – Oliver Wood
NO COUNTRY FOR OLD MEN – Roger Deakins
THERE WILL BE BLOOD – Robert Elswit
EDITING
AMERICAN GANGSTER – Pietro Scalia
ATONEMENT – Paul Tothill
THE BOURNE ULTIMATUM – Christopher Rouse
MICHAEL CLAYTON – John Gilroy
NO COUNTRY FOR OLD MEN – Roderick Jaynes
PRODUCTION DESIGN
ATONEMENT – Sarah Greenwood/Katie Spencer
ELIZABETH: THE GOLDEN AGE – Guy Hendrix Dyas/Richard Roberts
HARRY POTTER AND THE ORDER OF THE PHOENIX – Stuart Craig/Stephenie McMillan
THERE WILL BE BLOOD – Jack Fisk/Jim Erickson
LA VIE EN ROSE – Olivier Raoux/Stanislas Reydellet
COSTUME DESIGN
ATONEMENT – Jacqueline Durran
ELIZABETH: THE GOLDEN AGE – Alexandra Byrne
LUST, CAUTION – Pan Lai
SWEENEY TODD: THE DEMON BARBER OF FLEET STREET – Colleen Atwood
LA VIE EN ROSE – Marit Allen
SOUND
ATONEMENT – Danny Hambrook/Paul Hamblin/Catherine Hodgson/Becki Ponting
THE BOURNE ULTIMATUM – Kirk Francis/Scott Millan/David Parker/Karen Baker Landers/Per Hallberg
NO COUNTRY FOR OLD MEN – Peter Kurland/Skip Lievsay/Craig Berkey/Greg Orloff
THERE WILL BE BLOOD – Christopher Scarabosio/Matthew Wood/John Pritchett/Michael Semanick/Tom Johnson
LA VIE EN ROSE – Laurent Zeilig/Pascal Villard/Jean-Paul Hurier/Marc Doisne
SPECIAL VISUAL EFFECTS
THE BOURNE ULTIMATUM – Peter Chiang/Charlie Noble/Mattias Lindahl/Joss Williams
THE GOLDEN COMPASS – Michael Fink/Bill Westenhofer/Ben Morris/Trevor Wood
HARRY POTTER AND THE ORDER OF THE PHOENIX – Tim Burke/John Richardson/Emma Norton/Chris Shaw
PIRATES OF THE CARIBBEAN: AT WORLD’S END – John Knoll/Charles Gibson/Hal Hickel/John Frazier
SPIDER-MAN 3 – Scott Stokdyk/Peter Nofz/John Frazier/Spencer Cook
MAKE UP & HAIR
ATONEMENT – Ivana Primorac
ELIZABETH: THE GOLDEN AGE – Jenny Shircore
HAIRSPRAY – Judi Cooper Sealy/Jordan Samuel
SWEENEY TODD: THE DEMON BARBER OF FLEET STREET – Ivana Primorac/Peter Owen
LA VIE EN ROSE – Jan Archibald/Didier Lavergne
SHORT ANIMATION
THE PEARCE SISTERS – Jo Allen/Luis Cook
HEAD OVER HEELS – Osbert Parker/Fiona Pitkin/Ian Gouldstone
THE CRUMBLEGIANT – Pearse Moore/John McCloskey
SHORT FILM
DOG ALTOGETHER – Diarmid Scrimshaw/Paddy Considine
HESITATION – Julien Berlan/Michelle Eastwood/Virginia Gilbert
THE ONE AND ONLY HERB MCGWYER PLAYS WALLIS ISLAND – Charlie Henderson/James Griffiths/Tim Key/Tom Basden
SOFT – Jane Hooks/Simon Ellis
THE STRONGER – Dan McCulloch/Lia Williams/Frank McGuinness
THE ORANGE RISING STAR AWARD
(voted for by the public) – nominees announced on Tuesday 8 January
SHIA LABEOUF
SIENNA MILLER
ELLEN PAGE
SAM RILEY
TANG WEI
In The Bathroom (Al Bagno)
Studies by Tolin.
He's the creator of Al Bagno, Galassie Perdute, Maya and Le ultime dieci. He's also the screenwriter of Un giorno da eroe. His works are issued on Mono and Be Side.
He's one of the charter members of Edizioni Bertuccia, where he also makes lettering and paging.
War/Dance (2007)
War/Dance narrates the story of Dominic, Rose and Nancy, three children whose families have been torn apart, their homes destroyed, and who currently reside in a displaced persons camp in Patongo. They're preparing to enter a music competition that offers them a lifeline of hope.
The war stole everything from them, except their music. These children and their families rose above the atrocities of war to achieve greatness within their community and their country. The music made feel them good and helped them to wipe away their pain.
The war stole everything from them, except their music. These children and their families rose above the atrocities of war to achieve greatness within their community and their country. The music made feel them good and helped them to wipe away their pain.
Sean Fine and Andrea Nix Fine received a call from a non profit organization, Shine Global, about making a film to raise awareness about one of the world's worst child soldier situations in northern Uganda. They accepted to shoot the Uganda children's pain. They blended the history, facts and background as much as they could so they could focus on telling a truly human story in the kids' own voices. "War/Dance" earned the couple the Directing Award at Sundance in January as well as the audience prize for best doc at the Wisconsin Film Festival. And now War/Dance has a nomination at the 80th Academy Award.
This upbeat documentary shows the healing powers of music, song, and dance on these brutalized and traumatized youth. It's astounding how the film showed the resilience of the human spirit in the worst of circumstances. In War/Dance we rediscover the power of traditional art, dance and music.
You can buy War Dance
.
This upbeat documentary shows the healing powers of music, song, and dance on these brutalized and traumatized youth. It's astounding how the film showed the resilience of the human spirit in the worst of circumstances. In War/Dance we rediscover the power of traditional art, dance and music.
You can buy War Dance
.The Road
by Joakim Eskildsen. His publications include Nordic Signs (1995), Bluetide (1997), iChickenMoon (1999), which was awarded Best Foreign Title of 2000 in the Photo-Eye Books & Prints Annual Awards, the portfolio al-Madina (2002), which was made in collaboration with Kristoffer Albrecht and Pentti Sammallahti, and the book The Roma Journeys
(2007, Steidl).
(2007, Steidl).Exhibitions:
Le romané phirmimàta, Robert Morat, Hamburg 2008
Le romané phirmimàta, Städtische Galerie, Iserlohn 2008
Roma rejserne, Nikolaj Copenhagen Contemporary Art Center 2007
Romska resor, Kulturhuset, Stockholm 2007
Le romané phirimàta, Amos Anderson Art Museum, Helsinki 2007
Nordic Signs, Synart Art Gallery, Frankfurt/Main 2006
iChickenMoon, Synart Art Gallery, Frankfurt/Main 2005
iChickenMoon, Galleri Image, Århus 2003
Nordic Signs & iChickenMoon, Galerie Albrecht, Munich 2002 & 2003
Orientation, Städtische Galerie Iserlohn 2003
iChickenMoon, Galerie Pernkopf, Berlin 2002
Requiem & Nordic Signs, Galerie Fotohof, Salzburg 2001
Segni del Nord, ACTA Internazionale, Rome 1999
Bluetide, Galleri INTO, Helsinki 1997
Bluetide, Billedhuset, Copenhagen 1997
Nordic Signs, Center of Photography, Jyväskylä 1997
Nordic Signs, Fotografisk Galleri, Copenhagen 1996
Nordic Signs, Galleri UP, Stockholm 1996 & 1998
Nordic Signs, Laterna Magica, Helsinki 1996
Nordtegn, Galleri Image, Århus 1995
Nordtegn, Museet for Fotokunst, Platformen, Odense 1994
Everything Will Be Ok (2008)
For the past 12 years, Indie animator Don Hertzfeldt has created a series of inspiring, quirky, hand-drawn shorts which have delighted festival goers all over the world. He was also curator of the popular and influential semi-annual shorts showcase The Animation Show with Mike Judge.
Everything Will Be Ok and all of its special effects were photographed and carefully composited "in camera" - no CG was used in the production. Hertzfeldt generally uses 12 images per second, so a single minute of screen time requires him to draw 720 individual frames. He continues to use the old-fashioned pen-and-paper camera animation he learned in the mid-90s as a student at the University of California, Santa Barbara.
His most recent films, with their elaborate optical effects, have required even more painstaking effort. But the result is dark and hilarious, and it's increasingly expressive!
Herzfeldt will drive you wild with his last short film! You think you're watching a gag, but instead you're watching a careful consideration about the banality of our lives.
The banal life of a young man is represented by stick figures and described by a monotonous narrator. It's the first time Herzfeldt uses an omniscient narrator to carry the story: a series of dark and troubling events forces Bill to reckon with the meaning of his life - or lack thereof.
The stick figures and the narration make the banality of his life funny.
The Haze (2008)
Anthony Chen served as a radio presenter, a freelance movie reviewer and has done work as an actor. He directed G-23, which won awards in Korea, France, Belgium, Malaysia and Singapore, and Ah Ma, which was given an award at the 60th Cannes Film Festival.
On a hot, humid day, Singapore is shrouded by the haze caused by a burning forest in neighbouring Indonesia. Two teenagers decide to skip school and idle the day away. An innocent love affair plays out indoors amidst the dust and smoke that spreads outside.
The Haze aims to capture our youthfullness, in all its aspects: rebellion, recklessness, unpretentiousness, ignorance and innocence. First love can be awkward, selfish, beautiful and sinful at the same time.
In these days you can watch this short film at the Berlin Film Festival.
The Haze aims to capture our youthfullness, in all its aspects: rebellion, recklessness, unpretentiousness, ignorance and innocence. First love can be awkward, selfish, beautiful and sinful at the same time.
In these days you can watch this short film at the Berlin Film Festival.
Kawarenushi
Audrey Kawasaki. Her work is both innocent and erotic. Each subject is attractive yet disturbing. The figures she paints are seductive and contain an air of melancholy. They exist in their own sensually esoteric realm, yet at the same time present a sense of accessibility that draws the observer to them.
Your Friend the Rat (2007)
Your Friend the Rat provided Pixar Studio with opportunities for experimentation. Pixar studio experimented with playing around with new medium. Well, it was actually old medium again, but they're doing it in 2D and stop motion, etc. At 11 minutes, it is also the longest Pixar short to date. Along with hand drawn animation, the short also includes stop-motion animation, computer generated imagery and live action.
The short features Remy & Emile as they guide viewers through the history of the rat and attempt to correct some common misperceptions in an effort to persuade human viewers not to kill the ubiquitous rodents.
Your Friend the Rat was nominated in the Best Animated Short Subject category at the 35th annual Annie Awards. The short was directed by Jim Capobianco, who says he was particularly inspired by Ward Kimball, and was written by Jeff Pidgeon and Alexander Woo.
It is available on the Ratatouille dvd
and Blu-ray.
The short features Remy & Emile as they guide viewers through the history of the rat and attempt to correct some common misperceptions in an effort to persuade human viewers not to kill the ubiquitous rodents.
Your Friend the Rat was nominated in the Best Animated Short Subject category at the 35th annual Annie Awards. The short was directed by Jim Capobianco, who says he was particularly inspired by Ward Kimball, and was written by Jeff Pidgeon and Alexander Woo.
It is available on the Ratatouille dvd
and Blu-ray.Lucca '07
Andrea Altea. His first work was the comics strip ITIS. People appreciated his comic strip, then Altea chose to change the background to create a new novel: ITIS on the road. He began to issue it on the Web, but he gave that up in 2006.
He launched The Krishtel blog, where he'll issue a new comics strip. In the summer of 2007 he came in third in the Usellus competition, and he won the audience award. He also began to issuing on Macchie D'inchiostro.
Symphonie Diagonal (1925)
Symphonie Diagonal is one of my favourtite experimental short films, although it exists today only in fragments. In this short film, the emphasis is on objectively analyzed movement rather than expressiveness on the surface patterning of lines into clearly defined movements, controlled by a mechanical, almost metronomic tempo: vertical and horizontal, straight and curved, light and dark, strong and weak, disappearing and emerging. Various ‘expressions’ of line are presented at a controlled, mechanical tempo, revealing the film’s acute observation of the organization of time intervals. Visual imagery has a melodic quality, like a musical composition visually expressed.
Symphonie Diagonal has been described as absolute film and Visual Music. Itself film’s title suggests musical associations and Eggeling himself referred to his early drawing experiments as orchestrations. It was considered by many to be the "first" true abstraction in animation. He explored the depiction of movement, first in scroll drawings and then on film. In 1922 Eggeling bought a motion picture camera, and working without Richter, sought to create a new kind of cinema. In 1923 he showed a now lost, 10 minute film based on an earlier scroll titled Horizontal-vertical Orchestra. In the summer of 1923 he began work on Symphonie Diagonale. Paper cut-outs and then tin foil figures were photographed a frame at a time. He spent three or four years on it and died less than three weeks after its first showing in 1925.
Symphonie Diagonal has been described as absolute film and Visual Music. Itself film’s title suggests musical associations and Eggeling himself referred to his early drawing experiments as orchestrations. It was considered by many to be the "first" true abstraction in animation. He explored the depiction of movement, first in scroll drawings and then on film. In 1922 Eggeling bought a motion picture camera, and working without Richter, sought to create a new kind of cinema. In 1923 he showed a now lost, 10 minute film based on an earlier scroll titled Horizontal-vertical Orchestra. In the summer of 1923 he began work on Symphonie Diagonale. Paper cut-outs and then tin foil figures were photographed a frame at a time. He spent three or four years on it and died less than three weeks after its first showing in 1925.
The Plane Cabby’s Lucky Day (1932)
There is an abundance of startling creativity and ingenuity in this short. Teizo Kato’s The Plane Cabby’s Lucky Day (1932) describes a 1980 automated Japan where urban transportation takes place in the sky. The plane cab driver espouses traditional values, looking after his mother and maintaining a strong sense of justice.
The futuristic utopian setting is more parallel to the early cartoons of the West. There are politically incorrect images of natives who sing and dance all day because they live in paradise.
The futuristic utopian setting is more parallel to the early cartoons of the West. There are politically incorrect images of natives who sing and dance all day because they live in paradise.
Grand People’s Study House
by Charlie Crane
Publications
2007 Welcome to Pyongyang, published by Chris Boot
Awards
2007 Association of Photographers Silver Award
2006 Association of Photographers Judges Choice
2006 National Portrait Gallery Awards Semi-Finalist
2006 Winner of British Journal of Photography Award
2005 Association of Photographers Bronze Award
2005 Schweppes Portrait Awards Final Selection
1998 Kodak Photographer of the Year
Iraq in fragments (2006)
In 2002, when it was already clear that the United States would invade Iraq, James Longley traveled there to begin pre-production work on his second
documentary feature, Iraq in Fragments. The film was released in 2006 to critical acclaim and received many awards including an Academy Award nomination for 2007 Best documentary feature. Now Longley has realized his third short movie, Sari's Mother, which received an Academy Award nomination, too.
documentary feature, Iraq in Fragments. The film was released in 2006 to critical acclaim and received many awards including an Academy Award nomination for 2007 Best documentary feature. Now Longley has realized his third short movie, Sari's Mother, which received an Academy Award nomination, too.
This is a film about Iraq as a country and also about its people. Longley documents every single thing. He wanted to film ten stories at once, all in different parts of the country. In the end, he only filmed six different stories. He put only three of those stories into the final film. Iraq In Fragments illuminates post-war Iraq in three acts, building a vivid picture of a country pulled in different directions by religion and ethnicity. Filmed in verité style, with no scripted narration, the film explores the lives of ordinary Iraqis: their thoughts, beliefs and aspirations. It presents many layers and points of view, reflecting the diversity of a country with an uncertain future. Longley gets close and personal in his film, and he chose the cinema verité approach thus putting the viewer inside the lives of his subjects. This short film introduces the viewer to the breadth and complexity of the Iraqis divided along these lines, but the reality of Iraq is much more complicated.
You can buy Iraq in Fragments
.
You can buy Iraq in Fragments
.Saru Masamune (1930)
People think they know what anime are. How many people are familiar with classic Japanese animations? Japanese films were more conservative then than they are today and they tended to re-assert their own cultural identity and set of values. Many short films glorify the exploits of former military heroes.
In these days, the Japan Society of New York, presents Dawn of Japanese Animation, a screening of 38 animated films, from February 13th through the 16th. If you like anime, you must go to New York. If you can't, don't worry. Mellart will help you. We'll begin with Yasuji Murata's Saru Masamune (1930), based on the legend of how the great Japanese swordsmith, Masamune, received a sword from a tribe of monkeys after rescuing one of them from a hunter with a gun.
You can buy: Animated Classics of Japanese Literature - The Sound of Waves, Parts 1 & 2/ Growing Up
, Animated Classics of Japanese Literature - The Izu Dancer
, Animated Classics of Japanese Literature: The Harp of Burma/Season of the Sun
and Animated Classics of Japanese Literature - Botchan
You can buy: Animated Classics of Japanese Literature - The Sound of Waves, Parts 1 & 2/ Growing Up
, Animated Classics of Japanese Literature - The Izu Dancer, Animated Classics of Japanese Literature: The Harp of Burma/Season of the Sun and Animated Classics of Japanese Literature - BotchanUlisse
Gioma is an Italian cartoonist, who gained success with his strip Ulisse. He's also famous for his satirical comics.
He began to issue this comics in newspapers. After ten years of pubblications he chose the web and the magazine Il foglio letterario which will release the TPB "Ulisse. Fumetti di Gioma".
Madame Tutli Putli (inspiration, 2007)
You might be interested in Madame Tutli Putli (integral video), in The making of Madame Tutli Putli and in Madame Tutli Putli(eyes created by Jason Walker)
Tonto Woman (2008)
Shot in Almeria, Spain over the course of ten days utilizing some of the locations and sets seen previously in the classic Westerns 'A Fistful of Dollars' and 'The Good the Bad and the Ugly' it stars Francesco Quinn and Charlotte Asprey. Editing was carried out by Rick Russell.The post-production was supervised by Jason Watts, who worked on nearly all of the shots and where necessary generated 2D dust particles to help heighten the tense atmosphere in many of the confrontational shots.
You can buy the novel The Tonto Woman and Other Western Stories.
El Bufón y la Infanta (2007)
“El Bufón y la Infanta” is a short film, produced by Dygra Films, which is inspired by Oscar Wilde's novel "The Birthday of the Infant ". The action is developed in a room of a museum dedicated to Vela'zquez, where the dwarf Francisco de Lezcano leaves his picture, calling the attention of Margarita, the daughter of the king . She leaves her picture, too.
It's a mute, magic story which show us how different could be the reality.
It's a mute, magic story which show us how different could be the reality.
Le Mozart des Pickpockets (2006)
Pollet-Villard, who wrote, co-starred and directed this droll tale of two Paris pickpockets, has won the Gallic Audience Prize and the FNAC budding talent award.
Like Philippe Pollet-Villard's other films, this story is of the same kind: tragi-comical. All of the characters in his movies are in difficult situations or trying to escape from them. It is a context which I collocate between social film and large comedy. On the one hand we have authorship film with regard to social themes and on the other we have a comedy which treats stories of couples and other subjects.
Philippe and Richard live off petty scams in the Parisian neighborhood of Barbès. They find themselves responsible for a deaf-mute Romanian child. After trying to get rid of the child, they attempt to make him 'work.' Despite the language barrier, the boy manages to devise his own method of stealing.
Like Philippe Pollet-Villard's other films, this story is of the same kind: tragi-comical. All of the characters in his movies are in difficult situations or trying to escape from them. It is a context which I collocate between social film and large comedy. On the one hand we have authorship film with regard to social themes and on the other we have a comedy which treats stories of couples and other subjects.
Philippe and Richard live off petty scams in the Parisian neighborhood of Barbès. They find themselves responsible for a deaf-mute Romanian child. After trying to get rid of the child, they attempt to make him 'work.' Despite the language barrier, the boy manages to devise his own method of stealing.
Perpetuum Mobile (2006)
“Perpetuum Mobile”, a short film produced by Silverspace, written and directed by Raquel García-Ajofrín Virtus and Enrique García Rodríguez, is the first cinematographic project produced and directed entirely by Silverspace. They used Autodesk’s Maya 3D modelling and animation software along with Pixar’s Renderman, and Autodesk Combustion, a compositing software, for colour grading and compositing.
Its plot narrates the life of a young Leonardo Da Vinci and recollects the events that motivated the young genius to dedicate his life to art and science. The film is interesting for its search for the meaning of life.
Perpetuum Mobile has already received 12 award nominations and has won awards at the Independent Film Festival of California, L´Uovo de Napoli, the Las Vegas International Film Festival and the Oregon Da Vinci Film Festival. The film has also been translated into 12 different languages and was shown at SIGGRAPH 2007 and the Sitges Cinema Festival in Catalunya, Spain.
Perpetuum Mobile has already received 12 award nominations and has won awards at the Independent Film Festival of California, L´Uovo de Napoli, the Las Vegas International Film Festival and the Oregon Da Vinci Film Festival. The film has also been translated into 12 different languages and was shown at SIGGRAPH 2007 and the Sitges Cinema Festival in Catalunya, Spain.
Tooth and Nail (1970)
Dennis Oppenheim is one of America's finest and most creative conceptual and performance artists. He first gained acclaim in the 1960s, as a pioneer in conceptual artworks, body art, video and sculpture. As if all this wasn't enough, the man is still working on his art even as you're reading this. His early works tended to focus on performance actions that centered on representations of human and animal bodies. These actions can often be seen as mesmerizing, confusing, and mysterious.
In the early 1970s, Dennis Oppenheim was in the vanguard of artists using film and video to investigate themes relating to body and performance. This portfolio features a selection of his works known as the Aspen Tapes, produced between 1970 and 1974, in which Oppenheim uses his own body as a site of experimentation in the personal. In these works the artist enters into an intimate and dynamic dialogue with his body as he explores the boundaries of personal risk, bodily transformation, and interpersonal communication. His works explore new and unusual forms of communication and address and they present the act of communicating with others as a physical and biological extension of the self.
Oppenheim has therefore created a system that allows the artist to become the material; to consider himself the sole vehicle of art: the distributor, initiator and receiver, simultaneously. Understanding the body as both subject and object allows the artist to think in terms of an entirely different surface. It creates a shift in direction from the creation of solid matter to the pursuit of internal or surface change.
In the early 1970s, Dennis Oppenheim was in the vanguard of artists using film and video to investigate themes relating to body and performance. This portfolio features a selection of his works known as the Aspen Tapes, produced between 1970 and 1974, in which Oppenheim uses his own body as a site of experimentation in the personal. In these works the artist enters into an intimate and dynamic dialogue with his body as he explores the boundaries of personal risk, bodily transformation, and interpersonal communication. His works explore new and unusual forms of communication and address and they present the act of communicating with others as a physical and biological extension of the self.
Oppenheim has therefore created a system that allows the artist to become the material; to consider himself the sole vehicle of art: the distributor, initiator and receiver, simultaneously. Understanding the body as both subject and object allows the artist to think in terms of an entirely different surface. It creates a shift in direction from the creation of solid matter to the pursuit of internal or surface change.
, 
and 
.La Flor Más Grande del Mundo (2007)
Based on the novel of the same name by Jose Saramago, 'La Flor Más Grande del Mundo(The World's Largest Flower)' is a poetic juvenile story that proclaims the value of small actions and respect for the nature. Juan Pablo Etcheverry, who was nominated for the best Goya 2005 with the short animation' Minotauromaquia, Pablo en el laberinto', has begun again to fuse digital effects with plasticine. One of the characters in La Flor Más Grande del Mundo is actually Jose Saramago, who narrates the story.
This short film, full of symbols and enigmas, is aimed at the childhood audience that is growing in a world which has not yet being broken by individualism, violence and the lack of ideals. In this short film we can find two messages, one for children (the discovery of our value and altruism) and another one for all men and women who interrogate themselves about their place in the world.
You can watch the video here.
You buy the novel LA Flor Mas Grande Del Mundo/the World's Largest Flower.
Goya Awards
BEST FILM / MEJOR PELÍCULA
El Orfanato / The Orphanage by Juan Antonio Bayona
La Soledad by Jaime Rosales
Las 13 rosas by Emilio Martínez-Lázaro
Siete mesas de billar francés by Gracia Querejeta
BEST SPANISH-LANGUAGE FOREIGN FILM / MEJOR PELÍCULA EXTRANJERA DE HABLA HISPANA
La edad de la peseta by Pavel Giroud de Cuba
Mariposa negra by Francisco J. Lombardi de Perú
Padre nuestro by Rodrigo Sepúlveda de Chile
XXY by Lucía Puenzo de Argentina
BEST DOCUMENTARY / MEJOR PELÍCULA DOCUMENTAL
El productor by Fernando Méndez-Leite
Fados by Carlos Saura
Invisibles by Isabel Coixet, Win Wenders, Fernando León de Aranoa, Mariano Barroso and Javier Corcuera
Lucio by Aitor Arregui and José Mª Goenaga
BEST ANIMATED FEATURE / MEJOR PELÍCULA DE ANIMACIÓN
Azur y Asmar by Michel Ocelot
Betizu eta urrezko zintzarria by Egoitz Rodríguez Olea
En busca de la piedra mágica by Lenard F. Krawinkel and Holger Tappe
Nocturna, una aventura mágica by Víctor Maldonado and Adriá García
BEST DIRECTOR / MEJOR DIRECCIÓN
Icíar Bollaín for Mataharis
Emilio Martínez-Lázaro for Las 13 rosas
Gracia Querejeta for Siete mesas de billar francés
Jaime Rosales for La Soledad
BEST NEW DIRECTOR / MEJOR DIRECCIÓN NOVEL
Juan Antonio Bayona, for El Orfanato / The Orphanage
Tom Fernández, for La Torre de Suso
David and Tristán Ulloa, for Pudor
Félix Viscarret, for Bajo las estrellas
BEST ACTOR / MEJOR INTERPRETACIÓN MASCULINA PROTAGONISTA
Alfredo Landa, for Luz de domingo
Álvaro de Luna, for El prado de las estrellas
Alberto San Juan, for Bajo las estrellas
Tristán Ulloa, for Mataharis
BEST ACTRESS / MEJOR INTERPRETACIÓN FEMENINA PROTAGONISTA
Blanca Portillo, for Siete mesas de billar francés
Belén Rueda, for El Orfanato / The Orphanage
Emma Suárez, for Bajo las estrellas
Maribel Verdú, for Siete mesas de billar francés
BEST SUPPORTING ACTOR / MEJOR INTERPRETACIÓN MASCULINA DE REPARTO
Raúl Arévalo, for Siete mesas de billar francés
José Manuel Cervino, for Las 13 rosas
Julián Villagrán, for Bajo las estrellas
Emilio Gutiérrez Cava, for La Torre de Suso
Carlos Larrañaga, for Luz de domingo
BEST SUPPORTING ACTRESS / MEJOR INTERPRETACIÓN FEMENINA DE REPARTO
Amparo Baró, for Siete mesas de billar francés
Geraldine Chaplin, for El Orfanato / The Orphanage
Nuria González, for Mataharis
María Vázquez, for Mataharis
BEST NEW ACTOR / MEJOR ACTOR REVELACIÓN
Óscar Abad, for El prado de las estrellas
Gonzalo de Castro, for La Torre de Suso
Roger Princep, for El Orfanato / The Orphanage
José Luis Torrijo, for La Soledad
BEST NEW ACTRESS / MEJOR ACTRIZ REVELACIÓN
Gala Évora, for Lola, la película
Bárbara Goenaga, for Oviedo Express
Nadia de Santiago, for Las 13 rosas
Manuela Velasco, for Rec
BEST ORIGINAL SCREENPLAY / MEJOR GUIÓN ORIGINAL
Icíar Bollaín and Tatiana Rodríguez, for Mataharis
Ignacio Martínez de Pisón, for Las 13 rosas
Gonzalo Suárez, for Oviedo Express
Gracia Querejeta and David Planell, for Siete mesas de billar francés
Sergio G. Sánchez, for El Orfanato / The Orphanage
BEST ADAPTED SCREENPLAY / MEJOR GUIÓN ADAPTADO
Ventura Pons, for Barcelona, (un mapa)
Laura Santullo, for La Zona
Félix Viscarret, for Bajo las estrellas
Tristán Ulloa, for Pudor
Imanol Uribe, for La carta esférica
BEST CINEMATOGRAPHY / MEJOR FOTOGRAFÍA
José Luis Alcaine, for Las 13 rosas
Álvaro Gutiérrez, for Bajo las estrellas
Ángel Iguacel, for Siete mesas de billar francés
Carlos Suárez, for Oviedo Express
BEST EDITING / MEJOR MONTAJE
David Gallart for Rec
Fernando Pardo for Las 13 rosas
Elena Ruiz for El Orfanato / The Orphanage
Nacho Ruiz Capillas for Siete mesas de billar francés
BEST ORIGINAL SCORE / MEJOR MÚSICA ORIGINAL
Roque Baños, for Las 13 rosas
Carles Cases, for Oviedo Express
Míkel Salas, for Bajo las estrellas
Fernando Velázquez, for El Orfanato / The Orphanage
BEST ORIGINAL SONG / MEJOR CANCIÓN ORIGINAL
"Esa luz," by Luis Tosar, Piti Sanz, Santiago García de Leániz for Mataharis
"Fado da saudade," by Fernando Pinto Do Amaral, Carlos Do Carmo for Fados
"Glommy Sunday," by Lucía Jiménez for La caja Kovak
"Happy happy Chueca," by Diossa and Malyzzia for Chuecatown
BEST EXECUTIVE/LINE PRODUCER / MEJOR DIRECCIÓN DE PRODUCCIÓN
Juan Carmona and Salvador Gómez Cuenca, for Luz de domingo
Martín Cabañas, for Las 13 rosas
Teresa Cepeda, for Oviedo Express
Sandra Hermida, for El Orfanato / The Orphanage
BEST ART DIRECTION / MEJOR DIRECCIÓN ARTÍSTICA
Wolfgang Burmann, for Oviedo Express
Edou Hydallgo, for Las 13 rosas
Gil Parrondo, for Luz de domingo
Josep Rosell, for El Orfanato / The Orphanage
BEST COSTUME DESIGN / MEJOR DISEÑO DE VESTUARIO
Sonia Grande for Lola, la película
Lena Mossum for Las 13 rosas
Lourdes de Orduña for Luz de domingo
María Reyes for El Orfanato / The Orphanage
BEST SPECIAL EFFECTS / MEJORES EFECTOS ESPECIALES
Reyes Abades and Álex G. Ortoll, for El corazón de la tierra
David Ambid, Enric Masip and Álex Villagrasa, for Rec
Pau Costa, Raúl Ramanillos, and Carlos Lozano, for Las 13 rosas
David Martí, Montse Ribé, Pau Costa, Enric Masip, Lluis Castells and Jordi San Agustín, for El Orfanato / The Orphanage
BEST SOUND / MEJOR SONIDO
Carlos Bonmati, Alfonso Pino and Carlos Faruolo, for Las 13 rosas
Licio Marcos de Oliveira and Bernat Aragonés, for Tuya siempre
Iván Marín, José Antonio Bermúdez and Leopoldo Aledo, for Siete mesas…
Xavi Mas, Marc Orts, Oriol Tarragó, for El Orfanato / The Orphanage
BEST MAKEUP AND HAIR / MEJOR MAQUILLAJE and PELUQUERÍA
Lourdes Briones and Fermín Galán, for Oviedo Express
Lola López and Itziar Arrieta, for El Orfanato / The Orphanage
Mariló Osuna, Almudena Fonseca and José Juez for Las 13 rosas
José Quetglas and Blanca Sánchez, for El corazón de la tierra
BEST NARRATIVE SHORT / MEJOR CORTOMETRAJE DE FICCIÓN
El pan nuestro by Aitor Merino Unzueta
Padam… by José Manuel Carrasco Fuentes
Paseo by Arturo Rúiz Serrano
Proverbio chino by Javier San Román
Salvador - Historia de un milagro cotidiano by Abdelatif Abdeselam Hamed
BEST ANIMATED SHORT / MEJOR CORTOMETRAJE DE ANIMACIÓN
Atención al cliente by Marcos Valin and David Alonso
El Bufón y la infanta by Juan Ramón Galiñanes García
La Flor más grande del mundo by Juan Pablo Etcheverry
Perpetuum mobile by Raquel García-Ajofrin Virtus and Enrique García Rodríguez
Tadeo Jones y el sótano maldito by Enrique Gato Borregán
BEST DOCUMENTARY SHORT / MEJOR CORTOMETRAJE DOCUMENTAL
Caranbanchel, un barrio de cine by Juan Carlos Zambrana
El anónimo Caronte by Toni Bestard
El hombre felíz by Isabel Lucina Gil Márquez
Valkirias by Eduardo Soler
Honorary Goya / Goya de Honor
Alfred Landa
El Orfanato / The Orphanage by Juan Antonio Bayona
La Soledad by Jaime Rosales
Las 13 rosas by Emilio Martínez-Lázaro
Siete mesas de billar francés by Gracia Querejeta
BEST SPANISH-LANGUAGE FOREIGN FILM / MEJOR PELÍCULA EXTRANJERA DE HABLA HISPANA
La edad de la peseta by Pavel Giroud de Cuba
Mariposa negra by Francisco J. Lombardi de Perú
Padre nuestro by Rodrigo Sepúlveda de Chile
XXY by Lucía Puenzo de Argentina
BEST DOCUMENTARY / MEJOR PELÍCULA DOCUMENTAL
El productor by Fernando Méndez-Leite
Fados by Carlos Saura
Invisibles by Isabel Coixet, Win Wenders, Fernando León de Aranoa, Mariano Barroso and Javier Corcuera
Lucio by Aitor Arregui and José Mª Goenaga
BEST ANIMATED FEATURE / MEJOR PELÍCULA DE ANIMACIÓN
Azur y Asmar by Michel Ocelot
Betizu eta urrezko zintzarria by Egoitz Rodríguez Olea
En busca de la piedra mágica by Lenard F. Krawinkel and Holger Tappe
Nocturna, una aventura mágica by Víctor Maldonado and Adriá García
BEST DIRECTOR / MEJOR DIRECCIÓN
Icíar Bollaín for Mataharis
Emilio Martínez-Lázaro for Las 13 rosas
Gracia Querejeta for Siete mesas de billar francés
Jaime Rosales for La Soledad
BEST NEW DIRECTOR / MEJOR DIRECCIÓN NOVEL
Juan Antonio Bayona, for El Orfanato / The Orphanage
Tom Fernández, for La Torre de Suso
David and Tristán Ulloa, for Pudor
Félix Viscarret, for Bajo las estrellas
BEST ACTOR / MEJOR INTERPRETACIÓN MASCULINA PROTAGONISTA
Alfredo Landa, for Luz de domingo
Álvaro de Luna, for El prado de las estrellas
Alberto San Juan, for Bajo las estrellas
Tristán Ulloa, for Mataharis
BEST ACTRESS / MEJOR INTERPRETACIÓN FEMENINA PROTAGONISTA
Blanca Portillo, for Siete mesas de billar francés
Belén Rueda, for El Orfanato / The Orphanage
Emma Suárez, for Bajo las estrellas
Maribel Verdú, for Siete mesas de billar francés
BEST SUPPORTING ACTOR / MEJOR INTERPRETACIÓN MASCULINA DE REPARTO
Raúl Arévalo, for Siete mesas de billar francés
José Manuel Cervino, for Las 13 rosas
Julián Villagrán, for Bajo las estrellas
Emilio Gutiérrez Cava, for La Torre de Suso
Carlos Larrañaga, for Luz de domingo
BEST SUPPORTING ACTRESS / MEJOR INTERPRETACIÓN FEMENINA DE REPARTO
Amparo Baró, for Siete mesas de billar francés
Geraldine Chaplin, for El Orfanato / The Orphanage
Nuria González, for Mataharis
María Vázquez, for Mataharis
BEST NEW ACTOR / MEJOR ACTOR REVELACIÓN
Óscar Abad, for El prado de las estrellas
Gonzalo de Castro, for La Torre de Suso
Roger Princep, for El Orfanato / The Orphanage
José Luis Torrijo, for La Soledad
BEST NEW ACTRESS / MEJOR ACTRIZ REVELACIÓN
Gala Évora, for Lola, la película
Bárbara Goenaga, for Oviedo Express
Nadia de Santiago, for Las 13 rosas
Manuela Velasco, for Rec
BEST ORIGINAL SCREENPLAY / MEJOR GUIÓN ORIGINAL
Icíar Bollaín and Tatiana Rodríguez, for Mataharis
Ignacio Martínez de Pisón, for Las 13 rosas
Gonzalo Suárez, for Oviedo Express
Gracia Querejeta and David Planell, for Siete mesas de billar francés
Sergio G. Sánchez, for El Orfanato / The Orphanage
BEST ADAPTED SCREENPLAY / MEJOR GUIÓN ADAPTADO
Ventura Pons, for Barcelona, (un mapa)
Laura Santullo, for La Zona
Félix Viscarret, for Bajo las estrellas
Tristán Ulloa, for Pudor
Imanol Uribe, for La carta esférica
BEST CINEMATOGRAPHY / MEJOR FOTOGRAFÍA
José Luis Alcaine, for Las 13 rosas
Álvaro Gutiérrez, for Bajo las estrellas
Ángel Iguacel, for Siete mesas de billar francés
Carlos Suárez, for Oviedo Express
BEST EDITING / MEJOR MONTAJE
David Gallart for Rec
Fernando Pardo for Las 13 rosas
Elena Ruiz for El Orfanato / The Orphanage
Nacho Ruiz Capillas for Siete mesas de billar francés
BEST ORIGINAL SCORE / MEJOR MÚSICA ORIGINAL
Roque Baños, for Las 13 rosas
Carles Cases, for Oviedo Express
Míkel Salas, for Bajo las estrellas
Fernando Velázquez, for El Orfanato / The Orphanage
BEST ORIGINAL SONG / MEJOR CANCIÓN ORIGINAL
"Esa luz," by Luis Tosar, Piti Sanz, Santiago García de Leániz for Mataharis
"Fado da saudade," by Fernando Pinto Do Amaral, Carlos Do Carmo for Fados
"Glommy Sunday," by Lucía Jiménez for La caja Kovak
"Happy happy Chueca," by Diossa and Malyzzia for Chuecatown
BEST EXECUTIVE/LINE PRODUCER / MEJOR DIRECCIÓN DE PRODUCCIÓN
Juan Carmona and Salvador Gómez Cuenca, for Luz de domingo
Martín Cabañas, for Las 13 rosas
Teresa Cepeda, for Oviedo Express
Sandra Hermida, for El Orfanato / The Orphanage
BEST ART DIRECTION / MEJOR DIRECCIÓN ARTÍSTICA
Wolfgang Burmann, for Oviedo Express
Edou Hydallgo, for Las 13 rosas
Gil Parrondo, for Luz de domingo
Josep Rosell, for El Orfanato / The Orphanage
BEST COSTUME DESIGN / MEJOR DISEÑO DE VESTUARIO
Sonia Grande for Lola, la película
Lena Mossum for Las 13 rosas
Lourdes de Orduña for Luz de domingo
María Reyes for El Orfanato / The Orphanage
BEST SPECIAL EFFECTS / MEJORES EFECTOS ESPECIALES
Reyes Abades and Álex G. Ortoll, for El corazón de la tierra
David Ambid, Enric Masip and Álex Villagrasa, for Rec
Pau Costa, Raúl Ramanillos, and Carlos Lozano, for Las 13 rosas
David Martí, Montse Ribé, Pau Costa, Enric Masip, Lluis Castells and Jordi San Agustín, for El Orfanato / The Orphanage
BEST SOUND / MEJOR SONIDO
Carlos Bonmati, Alfonso Pino and Carlos Faruolo, for Las 13 rosas
Licio Marcos de Oliveira and Bernat Aragonés, for Tuya siempre
Iván Marín, José Antonio Bermúdez and Leopoldo Aledo, for Siete mesas…
Xavi Mas, Marc Orts, Oriol Tarragó, for El Orfanato / The Orphanage
BEST MAKEUP AND HAIR / MEJOR MAQUILLAJE and PELUQUERÍA
Lourdes Briones and Fermín Galán, for Oviedo Express
Lola López and Itziar Arrieta, for El Orfanato / The Orphanage
Mariló Osuna, Almudena Fonseca and José Juez for Las 13 rosas
José Quetglas and Blanca Sánchez, for El corazón de la tierra
BEST NARRATIVE SHORT / MEJOR CORTOMETRAJE DE FICCIÓN
El pan nuestro by Aitor Merino Unzueta
Padam… by José Manuel Carrasco Fuentes
Paseo by Arturo Rúiz Serrano
Proverbio chino by Javier San Román
Salvador - Historia de un milagro cotidiano by Abdelatif Abdeselam Hamed
BEST ANIMATED SHORT / MEJOR CORTOMETRAJE DE ANIMACIÓN
Atención al cliente by Marcos Valin and David Alonso
El Bufón y la infanta by Juan Ramón Galiñanes García
La Flor más grande del mundo by Juan Pablo Etcheverry
Perpetuum mobile by Raquel García-Ajofrin Virtus and Enrique García Rodríguez
Tadeo Jones y el sótano maldito by Enrique Gato Borregán
BEST DOCUMENTARY SHORT / MEJOR CORTOMETRAJE DOCUMENTAL
Caranbanchel, un barrio de cine by Juan Carlos Zambrana
El anónimo Caronte by Toni Bestard
El hombre felíz by Isabel Lucina Gil Márquez
Valkirias by Eduardo Soler
Honorary Goya / Goya de Honor
Alfred Landa
Julia's back
by Julieta Sans.
Exhibitions:
-National Portrait Gallery Photographic Prize 2007 (second prize)
-Amour Expo, Cabourg Gallery, France, co-curator and participant, 2006
-DayFour: Winter Notes on Summer Impressions, book and show, Six Degrees, London 2006
-Open, 198 Gallery, London 2004
-Summer Festival, Futura Ciudad Cultural Konex, Buenos Aires, 2004
-Cipea Centro Cultural, Buenos Aires, 2003
-National Portrait Gallery Photographic Prize 2007 (second prize)
-Amour Expo, Cabourg Gallery, France, co-curator and participant, 2006
-DayFour: Winter Notes on Summer Impressions, book and show, Six Degrees, London 2006
-Intimacy, Campbell Works, co-curator and participant. London 2005
-Central Saint Martins Postgraduate show, 2005-Open, 198 Gallery, London 2004
-Summer Festival, Futura Ciudad Cultural Konex, Buenos Aires, 2004
-Cipea Centro Cultural, Buenos Aires, 2003
Madame Tutli Putli(eyes created by Jason Walker, 2007)
You might be interested in Madame Tutli Putli (integral video) and in The making of Madame Tutli Putli
Gus Arriola is dead
Gordo creator Gus Arriola died Saturday following a lengthy bout with Parkinson’s disease.
He was born in Arizona in July 1917, but grew up in Los Angeles. Immediately
after high school, he spent a year working on Krazy Kat for Screen Gems,
then spent three years animating Tom and Jerry and Lonesome Stranger for Metro-Goldwyn-Mayer as a "sketch man", before leaving to start his own comic strip. He created the character of 'Gordo' and sold it to United Features in 1941. This comic strip, set in the Mexican countyside, soon became very popular, and Gus Arriola continued to draw it even when he was drafted for service in 1942. He eventually retired from the comic in 1985.
Gordo was initially designed to be a Mexican version of Li'l Abner, with a highly caricatured style and a lazy overweight title character who spoke in heavily accented English and took naps under a tree wearing a sombrero. After his early strips were criticized for Hollywood-style cultural stereotypes, Arriola realized that his was the only periodical work in American mass media that depicted life in Mexico, and modified the strip to be more sympathetic.
You can buy his books: Gordo's Cat
, Accidental Ambassador Gordo: The Comic Strip Art of Gus Arriola
and Gordo's Critters
.
He was born in Arizona in July 1917, but grew up in Los Angeles. Immediately
after high school, he spent a year working on Krazy Kat for Screen Gems,
then spent three years animating Tom and Jerry and Lonesome Stranger for Metro-Goldwyn-Mayer as a "sketch man", before leaving to start his own comic strip. He created the character of 'Gordo' and sold it to United Features in 1941. This comic strip, set in the Mexican countyside, soon became very popular, and Gus Arriola continued to draw it even when he was drafted for service in 1942. He eventually retired from the comic in 1985.Gordo was initially designed to be a Mexican version of Li'l Abner, with a highly caricatured style and a lazy overweight title character who spoke in heavily accented English and took naps under a tree wearing a sombrero. After his early strips were criticized for Hollywood-style cultural stereotypes, Arriola realized that his was the only periodical work in American mass media that depicted life in Mexico, and modified the strip to be more sympathetic.
You can buy his books: Gordo's Cat
, Accidental Ambassador Gordo: The Comic Strip Art of Gus Arriola and Gordo's Critters.Spider (2007)
Spider was written by Nash Edgerton and David Michod, directed by Nash Edgerton and produced by Nicole O'Donohue. Spider is a 9-minute short that is all about fun and games until something happens. It seems like just an ordinary day for this young Aussie couple. Sure, they've had a bit of a row, but flowers and chocolates should patch-up all that. Then they'll be able to move on and continue on like normal... Edgerton has more than a few surprises up his sleeve in constructing this totally captivating relationship drama.
It has screened at numerous international film festivals including Telluride, Prague and Cork Film Festivals, and domestically at both Sydney and Melbourne Film Festivals. Spider recently won the Jury Prize at the AFI/Los Angeles Film Festival and won the audience award at both the Sydney Film Festival and Prague Short Film Festival. It is the fourth short film directed by Nash Edgerton that has screened at Sundance since 2000.
Since his short DEADLINE, which won the top prize at Tropfest in 1997, Nash has directed a number of award-winning short films, music videos and commercials featuring actors such as Rose Byrne, Joel Edgerton, Radha Mitchell, Kestie Morassi and Dan Wyllie.
The action packed trailer for Tropfest called THE PITCH was followed by the horror/thriller FUEL and the stunt-driven LUCKY, all shorts that screened to acclaim locally and abroad at festivals including Sundance, Berlin, Aspen, PiFan, St Kilda and Flickerfest.
His career in music videos has won him various awards and ARIA nominations for work with leading Australian artists including Ben Lee, Eskimo Joe, Missy Higgins, Toni Collette, Pacifier and The Sleepy Jackson.
Since his short DEADLINE, which won the top prize at Tropfest in 1997, Nash has directed a number of award-winning short films, music videos and commercials featuring actors such as Rose Byrne, Joel Edgerton, Radha Mitchell, Kestie Morassi and Dan Wyllie.
The action packed trailer for Tropfest called THE PITCH was followed by the horror/thriller FUEL and the stunt-driven LUCKY, all shorts that screened to acclaim locally and abroad at festivals including Sundance, Berlin, Aspen, PiFan, St Kilda and Flickerfest.
His career in music videos has won him various awards and ARIA nominations for work with leading Australian artists including Ben Lee, Eskimo Joe, Missy Higgins, Toni Collette, Pacifier and The Sleepy Jackson.
Winter Olympic Games
by Oksana Grivina. He's the author of "Breakfast" and "Muchavka&Giant", at the moment he's working on "Clownery".
Aquarium (2007)
Rob Meyer received his MFA from NYU's Film School and has just completed writing his first feature film, Labrador Duck (the characters of this film are the same as Aquarium). His thesis short, Aquarium, won NYU's prestigious Wasserman Prize, as well as major prizes at film festivals around the world.
At fifteen, David and his two buddies are the youngest members of the Boston Aquarium Society. The three make their way to a monthly meeting but David harbors a secret he is reluctant to share.
This short film is based largely on Meyer's life. He began with the idea of aquarium fish breeding. While he developed the story it begin to deal with more serious themes he was always interested in exploring: the experience of growing up in a world that doesn't like to talk about issues of mortality.
Aquarium is a strange mix of melancholy and humor.
You can watch the trailer
At fifteen, David and his two buddies are the youngest members of the Boston Aquarium Society. The three make their way to a monthly meeting but David harbors a secret he is reluctant to share.
This short film is based largely on Meyer's life. He began with the idea of aquarium fish breeding. While he developed the story it begin to deal with more serious themes he was always interested in exploring: the experience of growing up in a world that doesn't like to talk about issues of mortality.
Aquarium is a strange mix of melancholy and humor.
You can watch the trailer
Byousoku 5 Centimeter (2007)
5 Centimeters Per Second 
( Byōsoku Go Senchimētoru), subtitled "a chain of short stories about their distance" is a 2007 Japanese animated feature film by Makoto Shinkai. The film won the Lancia Platinum Grand Prize at the Future Film Festival 2008.
The film consists of three episodes which follow the timeline of Takaki's life. It shows how Tohno Takaki, Shinohara Akari and Kanae Sumida's perspective of life changes from childhood to maturity with regards to the factors of time and distance. The first episode, “Okasho,” shows the day of their reunion. In the next episode, “Cosmonaut,” the story about Takaki after the reunion is shown from the viewpoint of another person. The last episode, “Byosoku 5 centimeter,” clips out the movements of their thoughts.
Tono Takaki had to part from Shinohara Akari after gradation from the elementary school. Despite their secret thoughts, only time has passed. One day, Takaki meets Akari in the heavy snow.
Byousoku 5 Centimeter attempts to present the real world from a different perspective. Makoto's film gives a realistic view of the struggles many face against, time, space, people, and love. The movie is named 5 Centimeters Per Second for the speed at which cherry blossom petals fall, petals being a metaphorical representation of humans, reminiscent of the slowness of life and how people often start together but slowly drift into their separate ways.
( Byōsoku Go Senchimētoru), subtitled "a chain of short stories about their distance" is a 2007 Japanese animated feature film by Makoto Shinkai. The film won the Lancia Platinum Grand Prize at the Future Film Festival 2008.The film consists of three episodes which follow the timeline of Takaki's life. It shows how Tohno Takaki, Shinohara Akari and Kanae Sumida's perspective of life changes from childhood to maturity with regards to the factors of time and distance. The first episode, “Okasho,” shows the day of their reunion. In the next episode, “Cosmonaut,” the story about Takaki after the reunion is shown from the viewpoint of another person. The last episode, “Byosoku 5 centimeter,” clips out the movements of their thoughts.
Tono Takaki had to part from Shinohara Akari after gradation from the elementary school. Despite their secret thoughts, only time has passed. One day, Takaki meets Akari in the heavy snow.
Byousoku 5 Centimeter attempts to present the real world from a different perspective. Makoto's film gives a realistic view of the struggles many face against, time, space, people, and love. The movie is named 5 Centimeters Per Second for the speed at which cherry blossom petals fall, petals being a metaphorical representation of humans, reminiscent of the slowness of life and how people often start together but slowly drift into their separate ways.
Rotterdam Film Festival 2008
VPRO Tiger Awards
Wonderful Town van Aditya Assarat (Thailand, 2007)
Flower in the Pocket van Liew Seng Tat (Maleisië, 2007)
Go with Peace Jamil van Omar Shargawi (Denemarken, 2008)
Dioraphte Award
Mutum van Sandra Kogut (Brazilië/Frankrijk, 2007)
NETPAC Award
What on Earth Have I Done Wrong?! by Niu Chen-zer (Taiwan, 2007)
FIPRESCI Award
El cielo, la terra y la lluvia by José Luis Torres Leiva
KNF Award
Cargo 200 by Alexei Balabanov.
Making of Son (2007)
From an early age Daniel Mulloy told stories with pictures. Growing up in Brixton, South London, he drew comic stories at school to overcome difficulties with reading and writing. As his facility grew, Mulloy discovered graffiti and painting.
He self-financed his first short film, Dance Floor (2002), about a Nigerian woman who works in a West-End club as a toilet attendant. This short was a surprise success winning film festivals and a BAFTA Film Award for Best Newcomer Wales. Mulloy's second short, Sister (2005), about an adopted boy growing up in the mountains, also won numerous awards including the ARTE Grand Prix and his second BAFTA Award.
Continuing to self-finance his films mainly through the cash prizes they where now winning, Mulloy made his third movie. Antonio's Breakfast (2006), about a teenager who cares for his dying father, premiered at Sundance and is currently on the festival circuit. This film has won over fifteen awards to date including Mulloy's third BAFTA.
The official selection of two of Mulloy's shorts in the International Competition at Clermont-Ferrand in 2006 (the world's highest regarded shorts only festival) made him the second director to achieve this distinction (the other being Thomas Vinterberg).
Dad (2007), Mulloy's fourth film, premiered to much controversy and acclaim at Sundance. The sensitive handling of its subject and the film's intensity have won praise with critics and juries alike and this year it has won Mulloy Best Director Awards from Spain to Japan.
Son (2007), Mulloy's new short film, won the award for Best Narrative Short at Slamdance Film Festival 2008.
A young boy finds himself trapped in an underground theater. His mother is in a tense, possibly abusive, relationship with a mysterious “director.” As the evening’s events unfold and the pair try to find a way out, this suspenseful short will leave you wondering about the connections between these people -- and about what it is that’s really happening.
Daniel Mulloy’s intense short Antonio’s Breakfast screened at Cucalorus in 2006.
He self-financed his first short film, Dance Floor (2002), about a Nigerian woman who works in a West-End club as a toilet attendant. This short was a surprise success winning film festivals and a BAFTA Film Award for Best Newcomer Wales. Mulloy's second short, Sister (2005), about an adopted boy growing up in the mountains, also won numerous awards including the ARTE Grand Prix and his second BAFTA Award.
Continuing to self-finance his films mainly through the cash prizes they where now winning, Mulloy made his third movie. Antonio's Breakfast (2006), about a teenager who cares for his dying father, premiered at Sundance and is currently on the festival circuit. This film has won over fifteen awards to date including Mulloy's third BAFTA.
The official selection of two of Mulloy's shorts in the International Competition at Clermont-Ferrand in 2006 (the world's highest regarded shorts only festival) made him the second director to achieve this distinction (the other being Thomas Vinterberg).
Dad (2007), Mulloy's fourth film, premiered to much controversy and acclaim at Sundance. The sensitive handling of its subject and the film's intensity have won praise with critics and juries alike and this year it has won Mulloy Best Director Awards from Spain to Japan.
Son (2007), Mulloy's new short film, won the award for Best Narrative Short at Slamdance Film Festival 2008.
A young boy finds himself trapped in an underground theater. His mother is in a tense, possibly abusive, relationship with a mysterious “director.” As the evening’s events unfold and the pair try to find a way out, this suspenseful short will leave you wondering about the connections between these people -- and about what it is that’s really happening.
Daniel Mulloy’s intense short Antonio’s Breakfast screened at Cucalorus in 2006.
Scaramuccia
Scaramuccia is a short film by Federico Guidi. This animation won the second prize at the Future Film Festival 2008.
The tecnique is superb for its fluidity. It's a very short story in which the final effect is given by rhythm and pause of narration.
The tecnique is superb for its fluidity. It's a very short story in which the final effect is given by rhythm and pause of narration.
Movie Squad Award
Marjane Satrapi and Vincent Paronnaud's Persepolis
has been given the Movie Squad Award of the young people's jury at the International Film Festival Rotterdam.
has been given the Movie Squad Award of the young people's jury at the International Film Festival Rotterdam.Moya Lyubov (My Love, 2006)
Alexander Petrov has employed a hand painted style making use of multiple layers of glass sheets, photographing each frame, then using his fingertips in place of a brush to animate the series of frames. This technique was used on his Oscar winning adaption of Ernest Hemingway's The Old Man and the Sea. Some time after the completion of the Oscar-winning movie, Petrov returned to his hometown of Yaroslavl in Russia to work on his next film: My Love was finished in Spring 2006 after three years' work.
This film, set in pre-revolutionary Russia, follows the adenture of a boy about to turn 16 as he dreams of and then chases his first love. Anton is attracted to two older women who have totally different personalities. This short movies narrates the genuine emotion of first love, the dizzying romanticism of youth and the torments of the immature heart. The strong narrative, combined with Petrov's elaborations of the boy's subconscious imagery gives the film an outstanding psychological depth and emotional impact. Petrov's ability to explore the mystic sides of the human being's inner life is unique.
Alexander Petrov’s sketches remind one of an animated work by Impressionists if they had made animated films. This film is indisputably a masterpiece. It is visually perfect, the score so neatly integrated that it feels natural. It delicately moves between reality, introspection and dreams without destroying the truthfulness of the story. The continuous blurs and sharps of the image are part of the poetic language of the film.
This film, set in pre-revolutionary Russia, follows the adenture of a boy about to turn 16 as he dreams of and then chases his first love. Anton is attracted to two older women who have totally different personalities. This short movies narrates the genuine emotion of first love, the dizzying romanticism of youth and the torments of the immature heart. The strong narrative, combined with Petrov's elaborations of the boy's subconscious imagery gives the film an outstanding psychological depth and emotional impact. Petrov's ability to explore the mystic sides of the human being's inner life is unique.
Alexander Petrov’s sketches remind one of an animated work by Impressionists if they had made animated films. This film is indisputably a masterpiece. It is visually perfect, the score so neatly integrated that it feels natural. It delicately moves between reality, introspection and dreams without destroying the truthfulness of the story. The continuous blurs and sharps of the image are part of the poetic language of the film.
Awards
* 2006—11th Hiroshima International Animation Festival: "Audience Prize" and "Special International Jury Prize"
* 2006—International Leipzig Festival for Documentary and Animated Film: "FIPRESCI Prize for Best Animation"
* 2006—10th Japan Media Arts Festival: "Excellence Prize"
* 2007—12th Open Russian Festival of Animated Film: "Grand Prix", "Best Direction" and "Best Visuals"
* 2007—Zolotoy Vityaz: "Best Animated Film"
* 2007—Message to Man: "Golden Centuar" (Grand Prix)
* 2007—Melbourne International Animation Festival: "Grand Jury Prize for Best Film", "Jury & Audience Vote" in the program "Hand Painted Panorama"
* 2007—Anima Mundi: Professional Jury Award for "Best Animation"
* 2008—80th Academy Awards:Best Animated Short Film - nomination
* 2006—11th Hiroshima International Animation Festival: "Audience Prize" and "Special International Jury Prize"
* 2006—International Leipzig Festival for Documentary and Animated Film: "FIPRESCI Prize for Best Animation"
* 2006—10th Japan Media Arts Festival: "Excellence Prize"
* 2007—12th Open Russian Festival of Animated Film: "Grand Prix", "Best Direction" and "Best Visuals"
* 2007—Zolotoy Vityaz: "Best Animated Film"
* 2007—Message to Man: "Golden Centuar" (Grand Prix)
* 2007—Melbourne International Animation Festival: "Grand Jury Prize for Best Film", "Jury & Audience Vote" in the program "Hand Painted Panorama"
* 2007—Anima Mundi: Professional Jury Award for "Best Animation"
* 2008—80th Academy Awards:Best Animated Short Film - nomination
Calling Mr. Smith (1943)
The Themersons had a significant influence on the art and philosophy of the avant-garde of Eastern Europe during the 1930s. Their work reflected something of the Dada and Constructivist forms and ideas of the time, but what most distinguished them throughout their lives, was their remarkable invention and technical experiment. The central concerns of Stefan Themerson's writing are ethics and language. He invented 'Semantic Poetry
' which first appeared in his novel Bayamus
(1949). It is a sort of poetry that prefers the matter-of-fact meanings of words in dictionary definitions to the romantic euphemism of poetic conventions. It contrasted the innate sense of good with which man is born, with the impassioned pursuit of belief and causes by which he is subsequently deluded. "Means are more important than Aims".
They were the most important makers of avant-garde film in pre-war Poland. They made five short experimental films in Warsaw during the mid-1930s: Pharmacy, Europa, Moment musical, Short circuit, and The Adventure of a Good Citizen, the only pre-war film to have survived the war. During the 1940s, in London, they made two more films. Calling Mr Smith (1943 ): a 10-minute anti-war film denouncing the destruction of Polish national culture under the Nazis.The Eye and the Ear (1944-45): a translation of sound into images based on 4 songs by Szymanowski.
In London they became key figures in the post-war cultural scene, founding Gaberbocchus Press, a major small press which published the first English editions of Jarry, Adler, Apollinaire, Schwitters, Queneau amongst others as well as writing novels, poems, philosophical treaties, operas, painting and theater design. They died in London in 1988.
' which first appeared in his novel Bayamus (1949). It is a sort of poetry that prefers the matter-of-fact meanings of words in dictionary definitions to the romantic euphemism of poetic conventions. It contrasted the innate sense of good with which man is born, with the impassioned pursuit of belief and causes by which he is subsequently deluded. "Means are more important than Aims".They were the most important makers of avant-garde film in pre-war Poland. They made five short experimental films in Warsaw during the mid-1930s: Pharmacy, Europa, Moment musical, Short circuit, and The Adventure of a Good Citizen, the only pre-war film to have survived the war. During the 1940s, in London, they made two more films. Calling Mr Smith (1943 ): a 10-minute anti-war film denouncing the destruction of Polish national culture under the Nazis.The Eye and the Ear (1944-45): a translation of sound into images based on 4 songs by Szymanowski.
In London they became key figures in the post-war cultural scene, founding Gaberbocchus Press, a major small press which published the first English editions of Jarry, Adler, Apollinaire, Schwitters, Queneau amongst others as well as writing novels, poems, philosophical treaties, operas, painting and theater design. They died in London in 1988.
The film is experimental in technique, using anamorphic lenses, still and moving images. While the spoken soundtrack employs a rhetoric heard elsewhere in wartime propaganda, the overall tone of the film is unusually urgent and authentic and in some sequences images combine with music (Chopin, Szymanowski) to convey a real feeling of loss.
You could be interested in these books: The Drawings of Franciszka Themerson
and Thermersons and the Gaberboccus Press-an Experiment in Publishing 1948-1979
and Thermersons and the Gaberboccus Press-an Experiment in Publishing 1948-1979Pulci
by Claudio Cardinali. His comics were chosen as finalists in many comics contests. Last year he won the contest "L’amore che verrà". He has won many editions of the "Questo l’ho fatto io!" illustration award. His principal character is Pulci, an alien chick.
I Met The Walrus (2007)
In 1969, a 14-year-old Beatle fanatic named Jerry Levitan, armed with a reel-to-reel tape deck, snuck into John Lennon's hotel room in Toronto and convinced John to do an interview. In 2007 using the actual audio he recorded during his meeting with John Lennon, filmmaker Josh Raskin recounts his experience in his short “I Met The Walrus”. A six-minute animated film in which John Lennon talks about global conflict and the need for peace. The idea for an animated movie jelled three years ago, when he met the young Toronto filmmaker Raskin.
This short film, directed by Toronto's Josh Raskin, earned an Academy Award nomination for best animated short. Raskin combines traditional pen sketches by James Braithwaite with digital illustration by Alex Kurina, resulting in a spell-binding vessel for Lennon’s boundless wit, and timeless message. The style of the drawing is modelled on Beatle's era animation for movies such as Yellow Submarine.
The Walrus is an extremely timely revisiting of Lennon’s revolutionary freedom of thought with razor sharp yet artful deconstructions of the military-industrial complex. This narrative tenderly romances Lennon's every word in a cascading flood of multi-pronged animation.
This short film, directed by Toronto's Josh Raskin, earned an Academy Award nomination for best animated short. Raskin combines traditional pen sketches by James Braithwaite with digital illustration by Alex Kurina, resulting in a spell-binding vessel for Lennon’s boundless wit, and timeless message. The style of the drawing is modelled on Beatle's era animation for movies such as Yellow Submarine.
The Walrus is an extremely timely revisiting of Lennon’s revolutionary freedom of thought with razor sharp yet artful deconstructions of the military-industrial complex. This narrative tenderly romances Lennon's every word in a cascading flood of multi-pronged animation.
Freeheld (2007)
Like Cynthia Wade's other films, this story is about controversial issues, too. Freeheld narrates the ugly life of a policewoman through the eyes of strong female characters. There is a sense of urgency and purpose to the story. The footage is dramatic and very emotional.
Cynthia Wade had read about Laurel's life, then she decided to attend a Freeholder meeting. She brought her camera and a couple of assistants with her. She just started shooting, and nobody told her to turn off the camera. After the meeting she went up to Laure and told her she wanted to make a documentary. She spend a lot of nights in Laure's guest room and went to the hospital with her. Then the filmaker lived with Laurel during the last 10 weeks of her life, during the period of her fight againstlung cancer.
It could have been a long film, but she chose to make Freeheld a short film because she knew she had access to Laurel for only a brief time.
Freeheld has received an Academy Award Nomination for Best Short Documentary and has won the Special Jury Prize in Short Filmmaking at Sundance Film Festival.
Freeheld has received an Academy Award Nomination for Best Short Documentary and has won the Special Jury Prize in Short Filmmaking at Sundance Film Festival.
The Ghosts of Cité Soleil (2006)
For the Haitians depicted in the film there is no right way of living in the sense of a "safe" person mentality, there is no compromise/alternative. Watch this documentary, in which some of the emotional tools of film-making integrate smoothly within the faint storyline.
It is simply a story of gang warfare in an environment of extreme poverty and shifting political loyalties. They have families and they want the same things that every human being desires. Asget Leth takes an incredible risk documenting the existence of the secret army, known as 'the chimeres', in the Haitian capital sub-slum, Cite Soleil.
The Ghosts Of Cite Soleil
is the story of young armed men from the slum being used for political purposes: it narrates the personal lives of two gangsters who, along with several other gangs, were employed by former Haitian president Jean-Bertrand Aristide to intimidate and make political opponents disappear. The brothers are not shown as completely good or bad either. They' re involved in vicious street gangs although there is still a sense of brotherly love between them, despite the odds.
People have called this film racist. I don't see any of the Haitian people as evil thugs, I see them as victims and survivors used and manipulated by corrupt governments. There is no truth--there is no right--there is no way out. The conflict will only end when one side is wiped out. We see their deplorable living conditions and their bones prominent on their scrawny bodies when they shower and we realize that they are desperate.
You need to understand. After watching"Ghosts of Cité Soleil", you cannot wipe out the image of their lives from your mind!
The Ghosts Of Cite Soleil
is the story of young armed men from the slum being used for political purposes: it narrates the personal lives of two gangsters who, along with several other gangs, were employed by former Haitian president Jean-Bertrand Aristide to intimidate and make political opponents disappear. The brothers are not shown as completely good or bad either. They' re involved in vicious street gangs although there is still a sense of brotherly love between them, despite the odds.People have called this film racist. I don't see any of the Haitian people as evil thugs, I see them as victims and survivors used and manipulated by corrupt governments. There is no truth--there is no right--there is no way out. The conflict will only end when one side is wiped out. We see their deplorable living conditions and their bones prominent on their scrawny bodies when they shower and we realize that they are desperate.
You need to understand. After watching"Ghosts of Cité Soleil", you cannot wipe out the image of their lives from your mind!
GRAND PRIX DE LA VILLE D'ANGOULÊME 2008
Philippe Dupuy and Charles Berberian are the winners of GRAND PRIX DE LA VILLE D'ANGOULÊME 2008
DUPUY & BERBERIAN BIBLIOGRAPHIE ALBUMS Petit Peintre (1985), chez Magic Strip (réédition chez Cornélius en 2003)
Graine De Voyous (1987),chez Audie / Fluide Glacial
Une Aventure De Stanislas : Klondike (1989), chez Milan
Le Chat Bleu (1990), chez Comixland
Les Héros Ne Meurent Jamais (1991), à l'Association
Journal d'un Album (1994), à l'Association
Le Petit Garcon qui n'existait Pas (2001), chez Cornélius
Le Journal d'Henriette 1 - Le Journal d'Henriette, Tome 1 (1988), chez Fluide Glacial, réédité en 2000 aux Humanoïdes Associés
2 - Le Journal d'Henriette, Tome 2 (1988), chez Fluide Glacial, réédité en 2000 aux Humanoïdes Associés
3 - Le Destin d'Henriette (1991), aux Humanoïdes Associés
Henriette
1- Une Envie de Trop (1998), aux Humanoïdes Associés (participation au scénario : Nathalie Roques & Anne Rozenblat)
2 - Un Temps De Chien (1999), aux Humanoïdes Associés (participation au scénario : Nathalie Roques & Anne Rozenblat)
3 - Trop Potes (2001) ), aux Humanoïdes Associés (participation au scénario : Nathalie Roques & Anne Rozenblat)
4 - Esprit, es-tu là ? (2003), chez Dupuis
Monsieur Jean
1 - Monsieur Jean, L'amour, La Concierge... (1991), aux Humanoïdes Associés
2- Les Nuits Les Plus Blanches (1992), aux Humanoïdes Associés
3 - Les Femmes Et Les Enfants D'abord (1994), aux Humanoïdes Associés
4 - Vivons Heureux Sans En Avoir L'air (1998), aux Humanoïdes Associés
(Hors-série) La Theorie Des Gens Seuls (2000), aux Humanoïdes Associés
5 - Comme S'il En Pleuvait (2001), aux Humanoïdes Associés
6 - Inventaire Avant Travaux (2003), chez Dupuis
7 - Un Certain Equilibre (2005), chez Dupuis
Carnets (chez Cornélius)
New-York Carnets (1996)
Barcelone Carnets 1999
Lisbonne Carnets (2001)
Tanger Carnets (2004)
Istanbul Carnets (2007)
Françoise (2006), chez Naïve
Un Peu avant la fortune (avec Jean-C. Denis) (2008), chez Dupuis (Collection Aire Libre)
Par Philippe Dupuy :
Hanté (2005), chez Cornélius
Une élection américaine (2006), chez Futuropolis (dessins de Charles Berberian, scénario de Loo Hui Phang)
Par Charles Berberian :
Sauve qui peut, Chez Carton (1985) (dessins de François Avril, scénario de Charles Berberian)
Des mouches pour Nemon (1986), chez Futuropolis (Dessin de Aussel, Scénario de Charles Berberian)
Le Pigeon (1988), chez Futuropolis (dessins de Stanislas, scénario de Jean-Claude Götting et Charles Berberian)
Cycloman (2002), chez Cornélius (dessins de Gregory Mardon, scénario de Charles Berberian)
Playlist (2004), chez Naïve
Les Gens (2007), chez Alain Beaulet (Dessins de Charles Berberian, scénario de Anna Rozen)
Sur Dupuy-Berberian :
Tout l'Univers de Dupuy Berberian (2006), chez Panama
You might be interested in Fauve d'or 2008
Madame Tutli Putli (2007)
Madame Tutli Putli is Lavis & Szczerbowski's first professional film. They, in fact, wrote, animated and directed the film entirely by themselves. The National Film Board of Canada presents a stunning, stop-motion animated film that takes the viewer on an exhilarating existential journey. The film introduces groundbreaking visual techniques and is supported by a haunting and original score. Puppets, costumes and sets are very detailed. Lavis & Szczerbowski rejected traditional stop-motion puppet armatures and built aluminum wire skeletons by hand: it took seven months of work! The same level of intricacy and attention to detail went into costuming. All of the film sets were hand built, too.
The special visual effects were produced in collaboration with acclaimed portrait artist Jason Walker. For each scene, he analyzed the puppet's animation with great patience and precise notes. The he positioned, digitally scaled, painted and re-timed the footage for nuance and believability of gesture.
They have done an incredible job: the changing light which moves across the travelers' faces; the figure of Madame Tutli-Putli, who embodies a wide range of emotions and displays an authentic feminility! It just might represent the technical high-point of stop-motion technique to date.
Madame Tutli-Putli boards the Night Train, weighed down with all her earthly possessions and the ghosts of her past. She travels alone, facing both the kindness and menace of strangers. As day descends into dark, she finds herself caught up in a desperate metaphysical adventure. Her past remains sketchy, but we can perceive enough to become involved in her story.
The Canadian animated short Madame Tutli-Putli has won two awards at the Cannes film festival and now it could be the next Oscar winner.
Enjoy the video! It takes time to download the movie, please be patient.
If you want to buy it, click here
The special visual effects were produced in collaboration with acclaimed portrait artist Jason Walker. For each scene, he analyzed the puppet's animation with great patience and precise notes. The he positioned, digitally scaled, painted and re-timed the footage for nuance and believability of gesture.
They have done an incredible job: the changing light which moves across the travelers' faces; the figure of Madame Tutli-Putli, who embodies a wide range of emotions and displays an authentic feminility! It just might represent the technical high-point of stop-motion technique to date.
Madame Tutli-Putli boards the Night Train, weighed down with all her earthly possessions and the ghosts of her past. She travels alone, facing both the kindness and menace of strangers. As day descends into dark, she finds herself caught up in a desperate metaphysical adventure. Her past remains sketchy, but we can perceive enough to become involved in her story.
The Canadian animated short Madame Tutli-Putli has won two awards at the Cannes film festival and now it could be the next Oscar winner.
Enjoy the video! It takes time to download the movie, please be patient.
If you want to buy it, click here
Meme le pigeons vont au paradise (2007)
(Even Pigeons Go To Heaven) by Samuel Tourneux
A funny story about a priest who tries to sell an old man a machine that he promises will transport him to heaven. There are many amusing characteristics in the short's brief running time which abounds in the dialogue exchange between the two characters. Its narrative style reminds me of the Pixar animation style.
Watch this cartoon now! This is the only version with English subtitles I could find.
Watch this cartoon now! This is the only version with English subtitles I could find.
Slamdance Film Festival 2008
GRAND JURY AWARDS
The New Year Parade - Tom Quinn
Best Narrative Feature: The New Year Parade directed by Tom Quinn
How To Be - Oliver Irving
Special Honorable Mention for Narrative Feature: How To Be directed by Oliver Irving
Song Sung Blue - Greg Kohs
Best Documentary Feature: Song Sung Blue directed by Greg Kohs
Special Honorable Mention for Documentary Feature: My Mother’s Garden directed by Cynthia Lester
Best Animated Short: Blood Will Tell directed by Andrew McPhillips
Best Documentary Short: The Ladies directed by C.A. Voros
Best Experimental Short: Doxology directed by Michael Langan
Best Narrative Short: Son directed by Daniel Mulloy
Special Honorable Mention for Narrative Short: 4960 directed by Wing-Yee Wu
The jury was made up of: MicroCineFest director Skizz Cyzyk, IFP managing director Amy Dotson, Sidewalk fest co-founder Erik Jambor, Film Arts associate editor Laurie Koh, filmmaker Leah Meyerhoff, YouTube manager of film and animation Sara Pollack, director Todd Rohal, director Michael Skolnik, and True/False Festival co-founder David Wilson.
AUDIENCE AWARDS
The Project - Ryan Piotrowicz
Best Narrative Feature: The Project directed by Ryan Piotrowicz
Best Documentary Feature: Song Sung Blue directed by Greg Kohs
Rock Garden: A Love Story - Gloria Kim
Global Audience Award for Best Anarchy Film: Rock Garden: A Love Story directed by Gloria U.Y. Kim
Woman in Burka - Jonathan Lisecki
Spirit of Slamdance Award: ("for exhibiting passion and talent as a filmmaker, commitment to the independent community, and enthusiastically embracing all Slamdance has to offer") Woman in Burka directed by Jonathan Lisecki
Kodak Vision Award for Best Cinematography: Crooked Lake / Portage, cinematography by Sascha Drews & Ezra Krybus
WRITER AWARDS Best Feature Length Screenplay: "The Wonder Girls" by Anthony Meindl
Best Short Screenplay: "Easy Pickins’" by Will Hartman
Best Teleplay: "Stage Six Pandemic" by Barbara Marshall
Best Horror Competition Screenplay: "The Punished" by Tony Mosher
Creative Excellence Award for the Horror Screenplay Competition: "Child in the Dark" by Damian Lahey & Ian Ogden
Sundance Film Festival 2008
Here is the list of the other awards from Sundance Film Festival 2008.
Grand Jury Prize: Documentary
"Trouble The Water"; directed by Tia Lessin and Carl Deal
Grand Jury Prize: Dramatic
"Frozen River"; directed by Courtney Hunt
World Cinema Jury Prize: Documentary
"Man on Wire"; directed by James Marsh
World Cinema Jury Prize: Dramatic
"King of Ping Pong" ("Ping Pongkingen"); directed by Jens Jonsson
Audience Award: Documentary
Fields of Fuel"; directed by Josh Tickell
Audience Award: Dramatic
"The Wackness"; directed by Jonathan Levine
World Cinema Audience Award: Documentary
"Man on Wire"; directed by James Marsh
World Cinema Audience Award: Dramatic
"Captain Abu Raed"; directed by Amin Matalqa
Directing Award: Documentary
Nanette Burstein for "American Teen"
Directing Award: Dramatic
Lance Hammer for "Ballast"
World Cinema Directing Award: Documentary
Nino Kirtadze for "Durakovo: Village of Fools" ("Durakovo: Le Village Des Fous")
World Cinema Directing Award: Dramatic
Anna Melikyan for "Mermaid" (Rusalka)
World Cinema Screenwriting Award
Samuel Benchetrit for "I Always Wanted To Be A Gangster" ("J'ai Toujours Reve D'Etre Un Gangster")
World Cinema Documentary Editing Award
Irena Dol for "The Art Star and the Sudanese Twins"
Excellence in Cinematography Award: Documentary
Phillip Hunt and Steven Sebring for "Patti Smith: Dream of Life"
Excellence in Cinematography Award: Dramatic
Lol Crawley for "Ballast"
World Cinema Cinematography Award: Documentary
al Massad for "Recycle"
World Cinema Cinematography Award: Dramatic
Askild Vik Edvardsen for "King of King Pong" ("Ping Pongkingen")
Documentary Editing Award
Joe Bini for "Roman Polanski: Wanted and Desired"
Waldo Salt Screenwriting Award
Alex Rivera and David Riker for "Sleep Dealer"
Special Jury Prizes
World Cinema Special Jury Prize: Dramatic
"Blue Eyelids ("Parpados Azules"), directed by Ernesto Contreas
Special Jury Prize: Documentary
"Greatest Silence: Rape in the Congo," directed by Lisa F. Jackson
Special Jury Prize: Dramatic, The Spirit of Independence
"Anywhere, U.S.A.," directed by Chusy Haney-Jardine
Special Jury Prize: Dramatic, Work by an Ensemble Cast
Sam Rockwell, Anjelica Huston, Kelly MacDonald and Brad Henke for "Choke"
Jury Prize in Short Filmmaking
"My Olympic Summer," directed by Daniel Robin
"Sikumi" ("On the Ice"), directed by Andrew Okpeaha MacLean
Jury Prize in International Short Filmmaking
"Soft," directed by Simon Ellis
Shorts Jury Honorable Mentions in Short Filmmaking
"Aquarium" directed by Rob Meyer
"August 15th," directed by Xuan Jiang
"La Corona," ("The Crown"), directed by Amanda Micheli and Isabel Vega
"Oiran Lyrics," directed by Ryosuke Ogawa
"Spider" directed by Nash Edgerton
"Suspension," directed by Nicolas Provost
"W.," directed by The Vikings
FAUVE D'OR 2008 : PRIX DU MEILLEUR ALBUM
Shaun Tan
Here is the list of the other comic books which received an award:
Essentials
Rutu Modan — Exit Wounds
Pascal Rabaté & David Prudhomme — La Marie en plastique
Cyril Pedrosa — Trois ombres
Jean Regnaud & Emile Bravo — Ma maman est en Amérique, elle a rencontré Buffalo Bill
Pierre Dragon & Frederik Peeters — RG
Discovery of the Year
Isabelle Pralong — L'éléphant
Fanzine Prize
Turkey #16
Heritage Prize
Tove Jansson: Moomin
Youth Prize
Philippe Buchet & Jean-David Morvan — Sillage, Tome 10 : Retour de flammes
Prize of the Public
Catel & José-Louis Bocquet — Kiki de Montparnasse
About photography
When a painter paints a picture, he is an outsider, looking at the world with amusement and curiosity. The moment is private, the painter looks at the world through the comings and goings of the world, at something that wasn't at all apparent but which was always there.
In photography, a different social code protects both participants: the sitter and the photographer. The sitter, his spontaneity suspended and his best appearance displayed, invites scrutiny.
Photographers can supplement the fundamental attitudes of the human mind and body with the more extrinsic gestures of daily behavior. They can profit from the mobility of the snapshot camera, reaching into the world as an intruder and creating a disturbance. The photographer captures the spontaneity of life without leaving any trace of his presence.
Hence the detachment of the artist becomes more of a problem in the photographic media because photographers must immerge themselves bodily into situations which call for human solidarity: the photographer must be where the action is!
The photographic medium is immensely valuable for documentation, but it's less suited to interpet or explain relevant aspects of what's going to be shown. Illustrations are more useful if one desires to clarify spatial relation or tell what belongs apart or together because only drawings are able to translate into visual patterns what has been understood about the object.
Photographs cannot be self-explanatory. Their meaning depends on the total context of which they're a part. It depends on the attitudes and motives of the persons depicted that may not be apparent from the photos, and it also depends on the values attributed by viewers to life, to death and to human beings in general. Consequently, when photography wishes to convey a message, it should try to place the symptoms it exposes into the proper context of cause and effect. This will always require the help of the written or spoken word.
In photography, a different social code protects both participants: the sitter and the photographer. The sitter, his spontaneity suspended and his best appearance displayed, invites scrutiny.
Photographers can supplement the fundamental attitudes of the human mind and body with the more extrinsic gestures of daily behavior. They can profit from the mobility of the snapshot camera, reaching into the world as an intruder and creating a disturbance. The photographer captures the spontaneity of life without leaving any trace of his presence.
Hence the detachment of the artist becomes more of a problem in the photographic media because photographers must immerge themselves bodily into situations which call for human solidarity: the photographer must be where the action is!
The photographic medium is immensely valuable for documentation, but it's less suited to interpet or explain relevant aspects of what's going to be shown. Illustrations are more useful if one desires to clarify spatial relation or tell what belongs apart or together because only drawings are able to translate into visual patterns what has been understood about the object.
Photographs cannot be self-explanatory. Their meaning depends on the total context of which they're a part. It depends on the attitudes and motives of the persons depicted that may not be apparent from the photos, and it also depends on the values attributed by viewers to life, to death and to human beings in general. Consequently, when photography wishes to convey a message, it should try to place the symptoms it exposes into the proper context of cause and effect. This will always require the help of the written or spoken word.
Peter & The Wolf (2006)
The film was made at the Se-ma-for Studios in Łódź, Poland between February and August 2006. The live premier was held on September 29 2006 at the Royal Albert Hall in London, accompanied by the Philharmonic Orchestra. Since then the film has toured with both live and recorded accompaniment around Britain, in Hong Kong and in Australia. The British television premier was shown on Channel 4 on Christmas Eve, 2006, and was accompanied by pre-recorded music performed by the Philharmonic Orchestra.
Peter & The Wolf took two of the top prizes at Annecy - the Annecy Crystal for Best Short and the coveted Audience Award.
Peter is a tormented soul, living as he does with an old drunken relative. On the edge of the vast forests of Russia, where wolves still roam, lies a little cottage surrounded by a big, high fence. This is where Peter lives with his grumpy Grandfather. Grandfather will not let Peter go out into the forest. "What if a wolf comes? What then?"
Peter and the Wolf is exceptional in its use of stop-frame animation to create serious movies with impact. The quality of the set and of the models is quite exceptional. The subtle expressions on the faces of all the parties is very revealing. The detail of the old house and the make-shift wall protecting it from all-comers put the best excesses of Waterworld in the shade. Without giving the game away for those yet to see this gem, not everything goes to plan.
In this version, instead of hunters there are two ugly and brutal militiamen. The grandfather is not a kindly old man, the house is a mess and Peter is bullied unmercifully by the neighbourhood thugs. The wolf is all menace. All this and no mention of the conclusion and theme. Templeton's adaptation is very modern, providing psychological depth. When Peter spares the wolf it is not out of naive sentimentality, but it's more of a statement against the brutality of our world!
Peter & The Wolf took two of the top prizes at Annecy - the Annecy Crystal for Best Short and the coveted Audience Award.
Peter is a tormented soul, living as he does with an old drunken relative. On the edge of the vast forests of Russia, where wolves still roam, lies a little cottage surrounded by a big, high fence. This is where Peter lives with his grumpy Grandfather. Grandfather will not let Peter go out into the forest. "What if a wolf comes? What then?"
Peter and the Wolf is exceptional in its use of stop-frame animation to create serious movies with impact. The quality of the set and of the models is quite exceptional. The subtle expressions on the faces of all the parties is very revealing. The detail of the old house and the make-shift wall protecting it from all-comers put the best excesses of Waterworld in the shade. Without giving the game away for those yet to see this gem, not everything goes to plan.
In this version, instead of hunters there are two ugly and brutal militiamen. The grandfather is not a kindly old man, the house is a mess and Peter is bullied unmercifully by the neighbourhood thugs. The wolf is all menace. All this and no mention of the conclusion and theme. Templeton's adaptation is very modern, providing psychological depth. When Peter spares the wolf it is not out of naive sentimentality, but it's more of a statement against the brutality of our world!
Alfred P. Sloan Prize
The 2008 Sundance Film Festival has announced that the winner of the Alfred P. Sloan Prize is Alex Rivera's "Sleep Dealer" . The prize carries a $20,000 cash award for the filmmakers and is presented to an outstanding feature film focusing on science or technology as a theme or depicting a scientist, engineer or mathematician as a major character.
Sundance Filmmakers Awards
The Sundance Institute and NHK (Japan Broadcasting Corporation) have announced the winners of the 2008 Sundance/NHK International Filmmakers Awards: Alejandro Fernandez for "Huacho," Braden King for "Here," Aiko Nagastu for "Apoptosis" and Radu Jude for "The Happiest Girl in the World." The winning director from each region will receive a $10,000 award and a guarantee from NHK to purchase the Japanese television broadcast rights upon completion of their project.
The jury was made up of Gregg Araki, Jeremy Pikser, Erin Cressida Wilson, Martin Rejtman, Andrucha Waddington, Shekhar Kapur and Anand Tucker.
The jury was made up of Gregg Araki, Jeremy Pikser, Erin Cressida Wilson, Martin Rejtman, Andrucha Waddington, Shekhar Kapur and Anand Tucker.
For Sore Eyes (2006)
by Anders Weberg (1968, Sweden). He works in video, sound, new media and installations.
He's specialized in the expressions that digital technologies provide and his aim is to mix genres and ways of expression in order to explore the potential of visual media.
He lives and works in in the small coastal town of Angelholm in the south of Sweden, and his works are exhibited at numerous art festivals, galleries, and museums internationally.
I already was familiar with this short film when Anders Weberg contacted me. I like the illusion of life behind a woman who is drowning and doesn't fight for breath. It's tragic that we like this short film. Do people like themselves? Do people hate themselves? Perhaps we find the behaviour of this woman courageous.
He's specialized in the expressions that digital technologies provide and his aim is to mix genres and ways of expression in order to explore the potential of visual media.
He lives and works in in the small coastal town of Angelholm in the south of Sweden, and his works are exhibited at numerous art festivals, galleries, and museums internationally.
I already was familiar with this short film when Anders Weberg contacted me. I like the illusion of life behind a woman who is drowning and doesn't fight for breath. It's tragic that we like this short film. Do people like themselves? Do people hate themselves? Perhaps we find the behaviour of this woman courageous.
On Coal and Appalachia
by Daniel Shea
Pubblications: Ridge Outdoors Magazine Featured Photos, November 2007; Carroll County Times: In Focus Feature, Article Interview and Photos, 2007 ; MICA Photography Department’s Photo Book 2007 Selection, 2007 ; Baltimore City Paper: Charm City Art Space Write-Up and Photo, 2007 ; Self-Published Bike Zine, 2003-2005.
80th annual Academy Nominees
The animation nominees for the 80th annual Academy Awards were announced January, 22 '08:
Best Animated Feature
• Persepolis
• Ratatouille by Brad Bird
• Surf's Up by Ash Brannon and Chris Buck
Best Animated Short Film (This is the first time since 1999 that US filmmakers have been shut out of the animated short category)
• I Met The Walrus by Josh Raskin
• Madame Tutli-Putli by NFB, Chris Lavis and Maciek Szczerbowski
• (Meme Les Pigeons Vont Au Paradis)Even Pigeons Go To Heaven by Samuel Tourneux and Simon Vanesse
• My Love (Moya Lyubov) by Alexander Petrov
• Peter And The Wolf by Suzie Templeton
The World of Stainboy (2000)
The World of Stainboy is a series of flash animation shorts created in 2000 by director Tim Burton and animated by Flinch Studios. Each of the six episodes is under five minutes in length.The character Stainboy first appeared in two short poems in the book The Melancholy Death of Oyster Boy, also created and illustrated by Tim Burton.
It is difficult to describe what Stainboy is. It's impossible to have a clear idea of what this tale is about. What we can say is that the series is a parody of superheroes, where superheroes are simply strange creatures, and that Stainboy is another one of Burton's darkly mischievous and funny creations. In the shorts, Stainboy works for the Burbank police, and at the beginning of each episode he is ordered to investigate and bring in social outcasts. Many of the outcasts are characters from the Oyster Boy book.
If you have appreciated this episode, you can download the other episodes.
It is difficult to describe what Stainboy is. It's impossible to have a clear idea of what this tale is about. What we can say is that the series is a parody of superheroes, where superheroes are simply strange creatures, and that Stainboy is another one of Burton's darkly mischievous and funny creations. In the shorts, Stainboy works for the Burbank police, and at the beginning of each episode he is ordered to investigate and bring in social outcasts. Many of the outcasts are characters from the Oyster Boy book.
If you have appreciated this episode, you can download the other episodes.
Exhibition "L'attimo neorelista"
From January 19 '08 to February 24 '08 you can visit the exhibition "L'attimo neorealista" which is being held in Mestre, near Venice, at the Centro Culturale Candiani. It's a selection of 84 frames from 32 neorealist films. We can't show you the entire exhibition, but the Centro Culturale Candiani has allowed us to show you the following photos:
Roma città aperta by Roberto Rossellini 1945
Paisà by Roberto Rossellini 1946
The Bicycle Thief (Ladri di biciclette) by Vittorio De Sica 1948
Bitter Rice (Riso amaro) by Giuseppe De Santis 1949
Path of Hope (Cammino della speranza) by Pietro Germi 1950
If you want buy the catalogue, please click here.
Wim Wenders visits Palermo to promote new film (and eat Italian ices)
On Monday January 21st, in front of an assembly of nearly 300 afficionados, Wim Wenders delighted Palermo's Golden Theater audience with jokes and anecdotes about Shooting Palermo, his new film which will be ready in about four months' time. The brilliant German director, playwright and photographer who is already renowned for such films as Don't Come Knocking (Viva Butte, Montana!), Paris, Texas and Buena Vista Social Club, just to mention a few of his masterpieces, has fallen in love with Palermo's gourmet Italian ices and has decided to shoot a film in Sicily's capital city in order to stock up on lemon sorbets.
The Palermo Shooting stars Andreas Frege, "Campino", the lead singer of the German punk rock band Die Toten Hosen ( The Dead Trousers) [a photograph by Andreas Gursky of one of their concerts is on display at The Museum of Modern Art, N.Y.] in the role of a German photographer who comes to Palermo in order to make a break with his past and finds... Sorry you'll have to see the movie for yourself when it comes out, spoilers verboten!!!
The cast, for now, subject to change without notice, includes the following: Campino, Dennis Hopper, Patti Smith, Giovanna Mezzogiorno, Jana Pallaske, Lou Reed, Inga Busch, Udo Samel, Sebastian Blomberg, Melika Foroutan, Alessandro Dieli, Francesco Guzzo, Giovanni Sollima, Wolfgang Michael, Harry Blain, Axel Sichrovsky, Irina Gerdt and Gerhard Gutberlet.
(Lorraine Eda Rolla)
Phonogram: Rue Britannia
You open this comic book, and suddenly you're getting people talking about bands you've never even heard of. It could be alienating, but although they're talking about specific bands, the ideas they are expressing are universal. You don't have to worry about the specifics and can roll with what's in the story. In fact, everything that's actually important in Phonogram can be deduced from the context in which it’s used.
A long search for himself, for the meaning of his existence, in which Kieron Gillen tells us the answer to life is music. Phonogram explores the idea that music truly is magic. "'Phonogram is based on people who realise that
metaphor is actually the true foundation of the universe, and so actively manipulate it to achieve their desires", declares the comics writer publically.
This book contains a lot of passion for Britpop but it's more of a struggle about the memories of the music rather than an expression of Gillen's love for it. It analyses the music and the movement with a passion only available to those who really loved it. It also takes the whole thing apart with the venom of those who’ve come out to the other side. The motif of music as a spiritual or magical force is something musicians return to time and time again.
David Kohl is a mage who uses the medium of Britpop music to interpret his magic. He has been tricked by The Goddess into visiting one of her temples. While in the temple, she curses him for the misuse of his powers and then sends him to investigate what is happening to one of her aspects. The aspect in question is Britannia, Goddess of Britpop, who baptised Kohl, was the original source of his abilities and is at least ten years dead. While investigating, he discovers the ghost of a girl who used to have a crush on him. The next day he wakes up to find that his memories have altered.
We realize that our world can begin to change by simply changing our perceptions.
In the end, Phongram is about non-literal ways of seeing the world, alternative perspectives, and so forth.
Now we can turn to the editorial details: the comic book is written by Kieron Gillien and drawn by James McKelvie. It is published by Image Comics.
A run of at least two mini-series is planned. The first volume was a six issue run, collected under the title "Rue Britannia". In keeping with the Britpop theme, the six individual issues had cover art based on album artwork from that era.The first volume began in August 2006.
A long search for himself, for the meaning of his existence, in which Kieron Gillen tells us the answer to life is music. Phonogram explores the idea that music truly is magic. "'Phonogram is based on people who realise that
metaphor is actually the true foundation of the universe, and so actively manipulate it to achieve their desires", declares the comics writer publically.This book contains a lot of passion for Britpop but it's more of a struggle about the memories of the music rather than an expression of Gillen's love for it. It analyses the music and the movement with a passion only available to those who really loved it. It also takes the whole thing apart with the venom of those who’ve come out to the other side. The motif of music as a spiritual or magical force is something musicians return to time and time again.
David Kohl is a mage who uses the medium of Britpop music to interpret his magic. He has been tricked by The Goddess into visiting one of her temples. While in the temple, she curses him for the misuse of his powers and then sends him to investigate what is happening to one of her aspects. The aspect in question is Britannia, Goddess of Britpop, who baptised Kohl, was the original source of his abilities and is at least ten years dead. While investigating, he discovers the ghost of a girl who used to have a crush on him. The next day he wakes up to find that his memories have altered.
We realize that our world can begin to change by simply changing our perceptions.
In the end, Phongram is about non-literal ways of seeing the world, alternative perspectives, and so forth.
Now we can turn to the editorial details: the comic book is written by Kieron Gillien and drawn by James McKelvie. It is published by Image Comics.
A run of at least two mini-series is planned. The first volume was a six issue run, collected under the title "Rue Britannia". In keeping with the Britpop theme, the six individual issues had cover art based on album artwork from that era.The first volume began in August 2006.
Future Film Festival Awards '08
The Lancia Platinum Grand Prize, the prize for best long animation film or best special effects, was awarded to Makoto Shinkai's Byousoku 5 Centimeters (5 Centimeters per Second: A Chain of Short Stories about Their Distance) . A special prize was awarded to Michael Arias' Tekkonkinkreet.
The members of the jury were the Italian filmaker Enzo d’Alò, the screenwriter Giorgia Cecere and the head of animation of Lumiq Studios, Carlo Alfano.
The public has voted the short films selected for Future Film Short. The winners of Premio del Pubblico Groupama were Attentiòn al cliente by Marcos Valìd and David Alonso (first prize of 1000 euro) and Scaramuccia of Federico Guidi (second prize 500 euro).
The Autodesk Digital Award was awarded to Alibi by Anthony Lamolinara (Direct2Brain) and Making of “Carnera” by Renzo Martinelli (EDI Effetti Digitali Italiani).
The members of the jury were the Italian filmaker Enzo d’Alò, the screenwriter Giorgia Cecere and the head of animation of Lumiq Studios, Carlo Alfano.
The public has voted the short films selected for Future Film Short. The winners of Premio del Pubblico Groupama were Attentiòn al cliente by Marcos Valìd and David Alonso (first prize of 1000 euro) and Scaramuccia of Federico Guidi (second prize 500 euro).
The Autodesk Digital Award was awarded to Alibi by Anthony Lamolinara (Direct2Brain) and Making of “Carnera” by Renzo Martinelli (EDI Effetti Digitali Italiani).
Halas and Batchelor part two
In the 1950s, Halas and Batchelor were able to expand their work yet further, producing films on purely artistic subjects. Experimental work as early as the 1950's included stereoscopy (with Norman McLaren) and advanced forms of film puppetry, combining the multi-projection of film in close synchronization with the live player on the stage and the production in the 1960's of about 200 8mm cassettes to illustrate through brief animation loops important points in scientific and technological instruction linked directly to the textbook. The 1950's represented the true birth of the studio as a recognised source of high quality animated films. It continued to make public information films for governmental offices. These high quality films, especially their shorts for the Marshal Plan, The Shoemaker and The Hatter (1949) and, for the Ministry of Health, Fly About the House (1949 ) were instrumental in attracting funding for the studio's future development. Its UK profile was further enhanced with the production of the Charley series (1946-47) for the Central Office of Information.
They are best known, however, for their adaptation of George Orwell's Animal Farm (1954). Rumors persist that the film was funded by a CIA covert operation, but Halas insisted that it was humanist and anti-totalitarian rather than anti-Communist, and the film is a considerable achievement: a feature length work of poignancy and deep emotion which revises our expectations of animal characters as comic or sentimental figures. The sombre satire of Orwell's novel is muted by a controversially upbeat ending in which the animals once again mobilize in resistance to authoritarian leadership but the film's highly politicised viewpoint still seems a bold and unusual one, particularly within the context of the British film industry of 1950s.
During the production of Animal Farm Halas & Batchelor employed over seventy people based in different offices in London, including a studio in Stroud. In texts held in their archive, the number of staff employed during the production series varies from author to author: figures range between 70 to 100. At the start of production in 1951, the studio experienced a large increase in personnel: some of these were former employees from Anson Dyer's studio. To support the production of Animal Farm, Halas & Batchelor established Animation Stroud Ltd. in 1951 under the management of Harold Whitaker. The Stroud department became an established part of Halas & Batchelor and became the training base for new staff and new generation of animators. In order to sustain its high level of output and development, the studio was proactive and flexible in identifying and exploiting new markets. It achieved this by recruiting talented staff and advisors whose skills and knowledge helped to achieve these results. The company actively promoted this aspect of its work in promotional leaflets and in the trade press. Due to the high demands that making these films put on the studio, they were forced to divide the studio space into different units and different production areas. This also led to setting up divisions dedicated to key commercial areas of the studio. Much of the structure has not changed from that of the 1950's, except for the creation of additional units aligned to different commercial areas that the studio oversees.
Even with production centered on Animal Farm, the studio was able to continue making commercials, information and educational films. A survey made during current research of the creative output of the studio during this period gives an indication of the range of films they produced. At the proposed launching of the new television channel ITV in the UK in 1955, Halas & Batchelor were already investigating the impact the launch of commercial television would have on animation studios. The most significant effect of the new station was the increased number of commissioned commercials, and in particular animated commercials, by advertising agencies. By 1955 the number of studios producing animation increased as a response to this demand.
By 1955, Halas & Batchelor was promoted as the largest cartoon studio in Europe. The economics of animation have always been precarious, and Halas and Batchelor primarily supported their unit by the mass production of commercials for television, the production of sponsored public relations films, films made in association with other production companies, and by sponsored entertainment series undertaken for television, such as the Foo-Foo cartoon series and the Snip and Snap series. The latter introduced paper sculpture animals, and both series, made in association with ABC-TV, enjoyed worldwide distribution.
They are best known, however, for their adaptation of George Orwell's Animal Farm (1954). Rumors persist that the film was funded by a CIA covert operation, but Halas insisted that it was humanist and anti-totalitarian rather than anti-Communist, and the film is a considerable achievement: a feature length work of poignancy and deep emotion which revises our expectations of animal characters as comic or sentimental figures. The sombre satire of Orwell's novel is muted by a controversially upbeat ending in which the animals once again mobilize in resistance to authoritarian leadership but the film's highly politicised viewpoint still seems a bold and unusual one, particularly within the context of the British film industry of 1950s.
During the production of Animal Farm Halas & Batchelor employed over seventy people based in different offices in London, including a studio in Stroud. In texts held in their archive, the number of staff employed during the production series varies from author to author: figures range between 70 to 100. At the start of production in 1951, the studio experienced a large increase in personnel: some of these were former employees from Anson Dyer's studio. To support the production of Animal Farm, Halas & Batchelor established Animation Stroud Ltd. in 1951 under the management of Harold Whitaker. The Stroud department became an established part of Halas & Batchelor and became the training base for new staff and new generation of animators. In order to sustain its high level of output and development, the studio was proactive and flexible in identifying and exploiting new markets. It achieved this by recruiting talented staff and advisors whose skills and knowledge helped to achieve these results. The company actively promoted this aspect of its work in promotional leaflets and in the trade press. Due to the high demands that making these films put on the studio, they were forced to divide the studio space into different units and different production areas. This also led to setting up divisions dedicated to key commercial areas of the studio. Much of the structure has not changed from that of the 1950's, except for the creation of additional units aligned to different commercial areas that the studio oversees.
Even with production centered on Animal Farm, the studio was able to continue making commercials, information and educational films. A survey made during current research of the creative output of the studio during this period gives an indication of the range of films they produced. At the proposed launching of the new television channel ITV in the UK in 1955, Halas & Batchelor were already investigating the impact the launch of commercial television would have on animation studios. The most significant effect of the new station was the increased number of commissioned commercials, and in particular animated commercials, by advertising agencies. By 1955 the number of studios producing animation increased as a response to this demand.
By 1955, Halas & Batchelor was promoted as the largest cartoon studio in Europe. The economics of animation have always been precarious, and Halas and Batchelor primarily supported their unit by the mass production of commercials for television, the production of sponsored public relations films, films made in association with other production companies, and by sponsored entertainment series undertaken for television, such as the Foo-Foo cartoon series and the Snip and Snap series. The latter introduced paper sculpture animals, and both series, made in association with ABC-TV, enjoyed worldwide distribution.
Other articles which might interest you:
Halas & Batchelor chronological filmography
Halas & Batchelor at Future Film Festival
Halas and Bachelor part one
Six Little Jungle Boys
Tromsø International Film Festival - '08 award
The '08 award winners at Tromsø International Film Festival are now official. Five films have received awards, two have gotten received mentions. The festival's main prize, the AURORA, was given to the French film WATER LILIES directed by Cèline Sciamma. The prize money guarantees the film full cinema distribution in Norway. This year's opening film, THE KAUTOKEINO REBELLION, won the FICC jury's Don Quijote prize.
The AURORA prize is given by the Tromsø International Film Festival committee. The prize is 100.000 NOK sponsored by FILM&KINO, and ensures the film's distribution at Norwegian cinemas.
The prize goes to: WATER LILIES. Directed by: Cèline Sciamma, France 2007.
The jury: Vigdis Lian (leader of the Norwegian Film Institute), Bent Hamer (Film director), Petter Benestad (cinema director at Kristiansand Cinema og leader in The Norwegian Association of Cinema Directors).
The Don Quijote award is given out by the FICC jury – the international federation of film societies and non-profit cinemas.
The prize goes to: THE KAUTOKEINO REBELLION. Directed by: Nils Gaup, Norway 2008.
The jury: Hege Kristin Widnes (Tromsø Film Society), Ada Guilà Puig (Fed. Catalana de Cineclubs, Barcelona), David Miller (British Federation of Film Societies).
The FIPRESCI award is the international film critic award.
The prize goes to: THE SECRET OF THE GRAIN. Directed by: Abdellatif Kechiche, France 2007.
The jury: Katharina Dockhorn (Filmwoche, Welt, Blickpunkt. Germany), Eero Tammi (Filmihullu, Finland), Øyvor Dalan Vik (Dagens Næringsliv, Norway).
The Norwegian Peace Film Award is given out by Tromsø International Film Festival, Center for Peace Studies at the University of Tromsø and the Student Peace Network.
The prize goes to: LITTLE MOTH. Directed by: Peng Tao, China 2007.
Honourable mentions: WHAT REMAINS OF US. Directed by: Hugo Latulippe, Francoise Prèvost, France 2004 and THE BAND’s VISIT. Directed by: Eran Kolirin, Israel, France, USA 2007.
The jury: Efrat Ben-Ze (Ruppin Academic Center and Harry S. Truman Institute for the Advancement of Peace at the Hebrew University in Jerusalem), Unni A.B. Sørensen (Student Network for Peace, Tromsø), Hisham Zaman (film director, Oslo).
THE TROMSØ PALM is given to the best short or documentary from the “Films from the North’ program.
The prize goes to: KESÄN LAPSI (Summerchild). Directed by: Iris Olsson, Finland 2007.
The jury: Mika Ronkainen (filmregissør og produsent, Klaffi Productions, Finland), Endre Lund Eriksen (director and director, Tromsø), Torunn Nyen (Festival Director of the Norwegian Short Film Festival).
Laws of seeing
Many art students in college don't like studying Arnheim's Art and Visual Perception. I like Arnheim's books, especially Art and Visual Perception; I'm interested in art psychology and I believe that anyone who wishes to study modern art, should study this branch of knowledge and thus take advantage of the fact that non objective or abstract art doesn't offer us the distraction of a specific narrative. This, in fact, is what give such works of art their extreme opticality.
I guess Gestalt theory offers us a useful tool towards an understanding of the laws of seeing: proximity, similarity, closure and continuity.
A viewer's mind tends to group visual forms in order to achieve simplicity or stability. This organizing principle in the way we see forms is a natural tendency of mankind for not only do we tend to detect symmetry: but we prefer to find symmetry in art.
Painters have an innate knowledge of how these systems influence and fascinate their assumed target viewers. Painters use the concept of object recognition to develop figure-ground relationships. They do their best to manipulate the viewer's attention so that a specified part of the painted suface is perceived as the object of interest or "figure" while other areas are seen as background. In fact, because the viewer's attention is focused on the object, the ground becomes of secondary importance.
Modern painters have been concerned with making every part of a painting's surface vital. Composition is one of several ways that painters can undo or subvert the figure-ground ways of seeing. This involves a vast amount of mental organizing .
Our acceptance of abstract art can be seen as the product of an evolving visual sophistication: our culture has invented new ways of seeing paintings. Abstract painting demonstrates the significant development of a new visual paradigm.
A viewer's mind tends to group visual forms in order to achieve simplicity or stability. This organizing principle in the way we see forms is a natural tendency of mankind for not only do we tend to detect symmetry: but we prefer to find symmetry in art.
Painters have an innate knowledge of how these systems influence and fascinate their assumed target viewers. Painters use the concept of object recognition to develop figure-ground relationships. They do their best to manipulate the viewer's attention so that a specified part of the painted suface is perceived as the object of interest or "figure" while other areas are seen as background. In fact, because the viewer's attention is focused on the object, the ground becomes of secondary importance.
Modern painters have been concerned with making every part of a painting's surface vital. Composition is one of several ways that painters can undo or subvert the figure-ground ways of seeing. This involves a vast amount of mental organizing .
Our acceptance of abstract art can be seen as the product of an evolving visual sophistication: our culture has invented new ways of seeing paintings. Abstract painting demonstrates the significant development of a new visual paradigm.
Six little jungle boys (1945)
'Six Little Jungle Boys' was part of 'The Joy of Sex Education'
Other articles which might interest you:
Halas & Batchelor chronological filmography
Halas & Batchelor at Future Film Festival
Halas and Bachelor part one
What's abstract art?
When I was younger I preferred classical art to abstract art because as I told people "it's more real". Now that I'm a bit older and have more experience, I can tell you that this was a mistake. Abstract art is more real than classical art is.
Let me ask you "Isn't color real in an abstract painting? And what about texture?" I'm sure you don't have to think about the answer. Yes, color and texture are just as real in abstract paintings as they are in classical art. The term abstract refers to form only.
The term non-objective art would probably be more appropriate than abstract art. Abstract art can be ambiguous in a way that realist paintings aren't. Abstract painters have some intuition about the kind of dialogues that a painting will engender because of its difference in volume and direction. Their paintings come from something in the real world.
If we really want to get to know abstract art we should ask ourselves how it began. I don't like the Marxist approach which is a sort of cliché after Peter Burger's talk about avant-garde origins. I don't have any thing against the theory of the influence of socio-economic revolution on abstract art, but I think the true forces at work here are the invention of photography and the search for purity.
It's true that economic independence allows artists to gain artistic independence and freedom from the dictates of style. But I doubt this is enough to explain the artistic revolution.
Who would desire a portait if he had the possibility of using the new technological tools? Many artists feared this would be the end of art. Painters were, in fact, forced to search for new subject matters which could embody their internalized ideals. Many artists found a solution in eliminating details and the illusion of space.
Let me ask you "Isn't color real in an abstract painting? And what about texture?" I'm sure you don't have to think about the answer. Yes, color and texture are just as real in abstract paintings as they are in classical art. The term abstract refers to form only.
The term non-objective art would probably be more appropriate than abstract art. Abstract art can be ambiguous in a way that realist paintings aren't. Abstract painters have some intuition about the kind of dialogues that a painting will engender because of its difference in volume and direction. Their paintings come from something in the real world.
If we really want to get to know abstract art we should ask ourselves how it began. I don't like the Marxist approach which is a sort of cliché after Peter Burger's talk about avant-garde origins. I don't have any thing against the theory of the influence of socio-economic revolution on abstract art, but I think the true forces at work here are the invention of photography and the search for purity.
It's true that economic independence allows artists to gain artistic independence and freedom from the dictates of style. But I doubt this is enough to explain the artistic revolution.
Who would desire a portait if he had the possibility of using the new technological tools? Many artists feared this would be the end of art. Painters were, in fact, forced to search for new subject matters which could embody their internalized ideals. Many artists found a solution in eliminating details and the illusion of space.
Halas & Batchelor Part one
Your Very Good Health
In 1932 John Halas (János Halász) formed his first film studio with Gyula Macskássy in Budapest. His involvement with animation evolved from his work with George Pal (György Pál Marczincsak). While working and studying in Budapest Halas became acquainted with László Moholy-Nagy. This encounter was later developed when both were working in London. Due to the lack of business at the studio, Halas left Hungary for a job in Paris where he also continued studies he had begun in Budapest. During this period, Joy Batchelor was an established illustrator producing work for fashion magazines and newspapers in London. After living in Paris, Halas moved to London in 1936 to complete the production of Music Man (1938). It was during this production period that he met Joy Batchelor, who also worked on the film.
John Halas and Joy Batchelor began their graphic design partnership during the pre-war period and then were married in 1940. Halas & Batchelor Cartoon Films Ltd was established in 1940 as a formally registered company. They hired a small room in Bush House, Aldwych, on the 18th May 1940, which was the headquarters for the J Walter Thompson advertising agency.
Their work was immediately identifiable by its combination of Disney-style characters and Eastern European aesthetics. The Ministry of Information invited the couple to make wartime public information and propaganda shorts.
Promotional and instructional films made by the studio led to an acceptance of animation as a mode of expression which could engage with mature subjects and serious themes. From 1940 to the late 1950's the studio was firmly associated with the production of propaganda and public information films. Most of these were shorts and represented a maturity of aesthetic style and imaginative visualisation. The films, usually about 5 minutes long, were written by Alexander McKendrick and fully animated by John Halas and Joy Batchelor with Vera Linnecar, Katherine Houston, Harold Mack and Wall Crook assisting.
Charlie Junior's School Day
Other articles which might interest you:
Halas & Batchelor chronological filmography
Halas & Batchelor at Future Film Festival
John Halas and Joy Batchelor began their graphic design partnership during the pre-war period and then were married in 1940. Halas & Batchelor Cartoon Films Ltd was established in 1940 as a formally registered company. They hired a small room in Bush House, Aldwych, on the 18th May 1940, which was the headquarters for the J Walter Thompson advertising agency.
Their work was immediately identifiable by its combination of Disney-style characters and Eastern European aesthetics. The Ministry of Information invited the couple to make wartime public information and propaganda shorts.
Promotional and instructional films made by the studio led to an acceptance of animation as a mode of expression which could engage with mature subjects and serious themes. From 1940 to the late 1950's the studio was firmly associated with the production of propaganda and public information films. Most of these were shorts and represented a maturity of aesthetic style and imaginative visualisation. The films, usually about 5 minutes long, were written by Alexander McKendrick and fully animated by John Halas and Joy Batchelor with Vera Linnecar, Katherine Houston, Harold Mack and Wall Crook assisting.
Charlie Junior's School Day
Other articles which might interest you:
Halas & Batchelor chronological filmography
Halas & Batchelor at Future Film Festival
The Cartoonist and The Cat 3
Here's another Davide Zamberlan's strip.
If you want to read the The Cartoonist and The Cat 1 and 2, please click here.
The Cartoonist and the Cat 4
Halas & Batchelor cronological filmography
We're continuing our selection of Halas & Batchelor's short films.
Here's a cronological list of their non-commercial works:
1938 Music Man
1938/39 The Brave ‘Little’ Tin Solider (uncompleted project)
1940 Carnival in the Clothes Cupboard
1941 Pocket Cartoon
1941 Filling the Gap
1941 Dustbin Parade
1942 Digging for Victory
1943 Compost Heaps (Pathé trailers)
I Stopped, I Looked (trailer)
Model Sorter
War Bonds (Pathé trailers)
Look out in the Black Out (Pathé trailers)
Early Digging (Pathé trailers)
Nine Men (animation effects for Ealing Studios)
Jungle Warfare
1943/45 Abu series
1944 Cold Comfort (newsreel trailer)
From Rags to Stitches (Pathé trailers)
Christmas Wishes (Pathé trailers)
Blitz on Bugs (Pathé trailers)
Careless Talk (Pathé trailers)
Spending Money (Pathé trailers)
Anti-Personnel Bomb (Pathé trailers)
Early April (Pathé trailers)
Domestic Workers (Pathé trailers)
Mrs. Sew and Sew (Pathé trailers)
1945 The Big Top
1944/45 Handling Ships
Export! Export! Export!
Export or Die
Six Little Jungle Boy’s
Tommy’s Double Trouble
Britain Must Export!
Dead of Night (animation effects for Ealing Studios)
Road Safety
1946 Immunize Against Diphtheria
Old Wives’ Tale
The Keys of Heaven
Modern Guide to Health
1946/47 Charley series
1949 Farmer Charley
1947 Pattern for Progress (animation Inserts for Technic Films)
First Line of Defense
This is the Air Force
1948 Magic Canvas
Water for Fire Fighting
Heave Away My Johnny
1949 Tracing the Spread of Infection
A Better Spirit (Part 1 of series Start With What is Under Your Nose)
A Little Forethought (Part 2 of series Start With What is Under Your Nose)
A Well Kept Machine (Part 3 of series Start With What is Under Your
Nose)
The Shoemaker and the Hatter
Submarine Control
Fly about the House
Mortal Shock
Think to the Future
Television Opening
Passport to Pimlico (animation effects for Ealing Studios)
1950 Dollar Gaf (animated inserts for Crown Film Unit)
As Old as the Hills
1950/51 The Earth in Labour
1950 Fowl Play
Fowl Play
British Army at Your Service
1951 Catalysis
Moving Spirit
1951 Poet and Painter Series
1951/4 Animal Farm
1952 We’ve Come a Long Way
The Owl and the Pussycat
Linear Accelerator
Service: Garage Handling
Changing Face of Europe (animated titles)
Cinerama Holiday (Continuity sequences)
Power to Fly
Coastal Navigation and Pilotage
The Figurehead
1954 Martin Luther
Down a Long Way
Refinery at Work
Early Days of Communication
Know your Allies (animated titles)
Pilgrims Progress (not produced)
Conquest of Everest (animation effects)
1954/5 The Sea of Winslow Homer
1955 The World that Nature Forgot
Animal Vegetable Mineral
Basic Fleetwork
Sniffles and Sneezes (animation inserts)
Refinery at Work
POPEYE series
Private’s Progress (Animated titles)
1955/56 The Aluminum Story
1955 Mr. Finley’s Feelings (animated inserts)
1956 The World of Little
The Candlemaker
To Your Health
Speed the Plough
1956/7 History of the Cinema
1956 Think of the Future
To Open the Worlds to the Nations – Suez Canal
Some Diseases of the heart and Circulatory System (animation insert)
Invisible Exchange
1957 Midsummer Nightmare (uncompleted project)
Open Window (animated titles)
Legend of the Lost (animated effects)
Granada Television Symbol
All Lit
1958 The First 99 (animated inserts)
The Christmas Visitor
Dam the Delta
Speed the Plough
Follow that Car
Best Seller (for Shell Petroleum Company)
Paying Bay
Early Days of Communication
1959 Rude on the Road
ABC Television Symbol
Armchair Theatre Titles
How to be a Hostess (live action)
Man in Silence
Charlotte’s Web (not produced)
Piping Hot
The Energy Picture
For Better for Worse
1959-60 Foo Foo (series)
1960 SNIP AND SNAP (series)
History of Inventions
The Brides of March
Road Hog – Don’t Be Rude On The Road
Wonder of Wool
Once More with Feeling (animated titles)
Guns of Navarone (excerpts, map effects)
1960-61 The Thief of Baghdad (animation effects for Titanus Film)
1961 The Monster of Highgate Pond (live action)
Lees Bar
Hamilton the Musical Elephant
Hamilton in the Music Festival
1961/69 8mm CONCEPT FILMS: BIOLOGY (series)
1961/69 8mm CONCEPT FILMS: MATHS (series)
1962 Barnaby – Father Dear Father (1962) 5min
Barnaby – Overdue Dues Blue (1962) 11min
The Showing Up of Larry the Lamb
The Romance of the Juke Box
1963 Weave me a Rainbow
Automania 2000
The Axe and the Lamp
Red Spotted Ball
1964 The Tale of the Magician
Ruddigore (feature)
Living Screen: Is there Intelligent Life on Earth
Paying Bay (for Shell)
Follow That Car
THE TALES OF HOFFNUNG (series)
MARTIAN IN MOSCOW (series)
DODO (series)
1966 ICOGRADA Congress (live action)
CLASSIC FAIRY TALES series
Matrices
Dying for a Smoke
Deadlock
Flow Diagram
Linear Programming
1966/67 LONE RANGER (37 episodes)
1967 The Question
What is a Computer?
Girls Growing Up
Mothers and Father
Colombo Plan
The Commonwealth
1968 Bolly: A Space Adventure
Functions and Relations
1969 Small World: Henry & Henriette
Henry & Henriette in The Seven Stages of Marriage
Measure of Man
To Our Children’s Children’s Children
1970 Short Tall Story
The Five
Wot Dot
Flurina
TOMFOOLERY (17 episodes)
This Love Thing
The Five
1971 Children and Cars
Football Freaks
The Condition of Man (series)
1972 THE ADAMS FAMILY (17 episodes)
THE JACKSON FIVE (17 episodes)
THE OSMONDS (17 episodes)
1973 Children Making Cartoons (live action)
BRITAIN NOW (series) (live action)
Contact
Making Music Together
1973-74 Kitchen Think
EUROPEAN FOLK TALES (series of 33 films from different countries)
1973 The Glorious Musketeers
The Twelve Tasks of Asterix
1974 Carry on Milkmaids
Butterfly Ball
1975 How Not to Succeed in Business
Life Insurance Training Film
1976/78 Max and Moritz (feature and separate episodes)
1976 Skyrider
1977 Making it Move (live action)
Noah’s Ark (project not completed)
The Three Musketeers
1978 WILHELM BUSCH ALBUM (series)
1979 Bravo for Billy (Sport Billy)
Ten for Survival
Autobahn
Dream Doll (directed by Bob Godfrey)
1980 Instant Sex (directed by Bob Godfrey)
BioWoman (directed by BobGodfrey)
Bible Stories
1981 Heavy Metal (“Grimaldi” and “So Beautiful and So Dangerous” stories in feature film)
A Cat is A Cat
Dilemma
First Steps: Caring For the Very Young
1982 The Adventures of Blip: Mechanical Dog
1983 King Rubic: The King’s Cold
1984 Growing Up: A Guide to Puberty
Doctor in the Sky
Great Masters: A New Vision: Botticelli
1986 Great Masters: A New Vision: Leonardo da Vinci
Great Masters: A New Vision: Toulouse-Lautrec
1987 The Players
Masters of Animation (series)
1990 A Memory of L. Moholy-Nagy
1996 Know your Europeans project
1996 Know your Europeans UK (directed by Bob Godfrey)
1996 Know your Europeans Germany (directed by Christoph Simon)
Quartet
Up
Let it Bleed
It Furthers One to Have Somewhere to Go
Xeroscopy
Discovery of America
This Love Thing (includes Pilot version)
Together for Children
Tide Tables
The Big Sneeze (project not produced)
Elementary Physics: The Action of
the Lever I, II, III., The Inclined Plane, The Screw
Animal Behaviour series (film loops)
The Mussel
The Sea Urchin
The Kittiwake
Animal Conference
Captain Cook’s Travels
The Choice
First Aid: Bleeding, Scalds
The Way to Security
Think of the Future
Alice in Chinaland (not produced)
Water Safety
Seagram
65th Golden Globe Award Winners
BEST MOTION PICTURE – DRAMA
BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – DRAMA
JULIE CHRISTIE
Away from Her
BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – DRAMA
DANIEL DAY-LEWIS
There Will be Blood
BEST MOTION PICTURE – COMEDY OR MUSICAL
Sweeney Todd - The Demon Barber Of Fleet Street
BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – COMEDY OR MUSICAL
MARION COTILLARD
La Vie en Rose
BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – COMEDY OR MUSICAL
JOHNNY DEPP
Sweeney Todd: The Demon Barber of Fleet Street
BEST ANIMATED FEATURE FILM
BEST FOREIGN LANGUAGE FILM
The Diving Bell and the Butterfly
– FRANCE AND USA
BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A MOTION PICTURE
CATE BLANCHETT
I'm Not There
BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A MOTION PICTURE
JAVIER BARDEM
No Country for Old Men
BEST DIRECTOR – MOTION PICTURE
JULIAN SCHNABEL
The Diving Bell and the Butterfly
BEST SCREENPLAY – MOTION PICTURE
ETHAN COEN & JOEL COEN
No Country for Old Men
BEST ORIGINAL SCORE – MOTION PICTURE
DARIO MARIANELLI
Atonement
BEST ORIGINAL SONG – MOTION PICTURE
“GUARANTEED” — Into The Wild
Music & Lyrics by: Eddie Vedder
BEST TELEVISION SERIES – DRAMA
MAD MEN
BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES – DRAMA
GLENN CLOSE
Damages: The Complete First Season
BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – DRAMA
JON HAMM
Mad Men
BEST TELEVISION SERIES – COMEDY OR MUSICAL
BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES – COMEDY OR MUSICAL
TINA FEY
30 Rock
BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – COMEDY OR MUSICAL
DAVID DUCHOVNY
Californication
BEST MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
BEST PERFORMANCE BY AN ACTRESS IN A MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
QUEEN LATIFAH
Life Support
BEST PERFORMANCE BY AN ACTOR IN A MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
JIM BROADBENT
Longford
BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A SERIES, MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
SAMANTHA MORTON
Longford
BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A SERIES, MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
JEREMY PIVEN
Entourage
Halas & Batchelor at Future Film Festival
Tomorrow the 10th edition of Future Film Festival begins. If you can't watch the screening dedicated to John Halas and Joy Batchelor, don't worry!
In these days I'll show you some of their best short films!
Here 's the list of Halas & Batchelor's short films you can watch at Future Film Festival:
The Owl and the Pussycat by John Halas, Brian Borthwick, 1952; Figurehead by John Halas, Joy Batchelor, 1953; The History of the Cinema by John Halas, 1957; FooFoo The Stowaway by Harold Whitaker, John Smith, Tony Guy, Terry Harrison, Regno Unito, 1960; Cultured Ape by John Halas, Harold Whitaker, Tony Guy, 1960; Snip and Snap, Top Dogs by John Halas, Tock, 1960; Snip and Snap, Snap Shots by John Halas, Tock, 1960; Hamilton in the Music Festival by John Halas, 1961; The Symphony Orchestra by Harold Whitaker, 1964; Autobahn by Roger Mainwood, 1979; Butterfly Ball by Lee Mishkin, 1974; Dilemma by John Halas, 1981.
In these days I'll show you some of their best short films!
Here 's the list of Halas & Batchelor's short films you can watch at Future Film Festival:
The Owl and the Pussycat by John Halas, Brian Borthwick, 1952; Figurehead by John Halas, Joy Batchelor, 1953; The History of the Cinema by John Halas, 1957; FooFoo The Stowaway by Harold Whitaker, John Smith, Tony Guy, Terry Harrison, Regno Unito, 1960; Cultured Ape by John Halas, Harold Whitaker, Tony Guy, 1960; Snip and Snap, Top Dogs by John Halas, Tock, 1960; Snip and Snap, Snap Shots by John Halas, Tock, 1960; Hamilton in the Music Festival by John Halas, 1961; The Symphony Orchestra by Harold Whitaker, 1964; Autobahn by Roger Mainwood, 1979; Butterfly Ball by Lee Mishkin, 1974; Dilemma by John Halas, 1981.
Online film critics' society award 2007
On December 24, 2007 the Online film critics' society announced the 2007 nominees. The final ballots of OFCS awards go out on January 1-7, 2008. The winners should be anoounced on January 8, 2008, instead the ceremony was held on January 11, 2008:
Best Film: No Country for Old Men
Best foreign Language Film: The Lives of Others
by Florian Henckel von Donnersmarck
Best Documentary: The King of Kong: A Fistful of Quarters
by Seth Gordon
Best Director: Joel Coen and Ethan Coen, No Country for Old Men
Best Actor: Daniel Day-Lewis - There Will be Blood
Best Actress: Ellen Page, Juno
Best Supporting Actor: Javier Bardem - No Country for Old Men
Best Supporting Actress: Cate Blanchett, I'm Not There
Best Ensemble: No Country for Old Men
Actor of the Year: Philip Seymour Hoffman, Before the Devil Knows You're Dead, Charlie Wilson's War
, The Savages
Breakthrough Film Artist: Sarah Polley, Away from Her
Best Screenplay - Original: Diablo Cody, Juno
Best Screenplay - Adapted: Joel Coen and Ethan Coen, No Country for Old Men
Best Animated Film: Ratatouille by Brad Bird
Best Cinematography: Óscar Faura, The Orphanage
Best Score: Glen Hansard and Markéta Irglová, Once
Best Overlooked film: Air Guitar Nation
by Alexandra Lipsitz
Best Film: No Country for Old Men
Best foreign Language Film: The Lives of Others
by Florian Henckel von DonnersmarckBest Documentary: The King of Kong: A Fistful of Quarters
by Seth GordonBest Director: Joel Coen and Ethan Coen, No Country for Old Men
Best Actor: Daniel Day-Lewis - There Will be Blood
Best Actress: Ellen Page, Juno
Best Supporting Actor: Javier Bardem - No Country for Old Men
Best Supporting Actress: Cate Blanchett, I'm Not There
Best Ensemble: No Country for Old Men
Actor of the Year: Philip Seymour Hoffman, Before the Devil Knows You're Dead, Charlie Wilson's War
, The SavagesBreakthrough Film Artist: Sarah Polley, Away from Her
Best Screenplay - Original: Diablo Cody, Juno
Best Screenplay - Adapted: Joel Coen and Ethan Coen, No Country for Old Men
Best Animated Film: Ratatouille by Brad Bird
Best Cinematography: Óscar Faura, The Orphanage
Best Score: Glen Hansard and Markéta Irglová, Once
Best Overlooked film: Air Guitar Nation
by Alexandra Lipsitz
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