Sub (2000)

Sub is an exquisitely-timed, hysterically funny, stunningly expressive story of one sunny afternoon in a cool Italian plaza.
It's a strange short: a spare dialogue, a striking illustrative style and a decidedly red aesthetic. Someone will see in the short the decline of the Soviet Empire or a treatise on the vulgarization of mass culture and the decline of religiosity.



I'm not sure if it's simply a surreal short about the crew of a miniature submarine attempting to save their captain from being splattered about the ground of a European plaza but I'm sure this film will fascinate you for its inventiveness, its dynamic editing, its continual narrative surprises but most of all for its subversive humor.

Not From Concetrate 3

Not From Concentrate runs daily in The Diamondback, the independent student newspaper of the University of Maryland, College Park.

It is created by Thomas Dobrosielski.

Le Vieil Homme et la Mer (1999)

The old man and the sea, based on the novel of the same name by Ernest Hemingway, won many awards, including the Academy Award for Animated Short Film.



Aleksandr Petrov and his son Dmitri Petrov painted each of the 29,000+ frames. They took more than two years of painting on glass sheets. The project was initiated in 1995 after Petrov (who had made his first films in Russia) had his first meeting with Pascal Blais Studio, a Canadian animation studio. The film was partially funded by and was made at their studio. After photographing each frame painted on the glass sheets, which was four times larger than the usual A4-sized canvas, he had to slightly modify the painting for the next frame and so on.



The style is analogous to that used in Petrov's other films and can be characterized as a type of Romantic realism. People, animals and landscapes are painted and animated in a very realistic fashion but there are sections where Petrov attempts to visually show a character's inner thoughts and dreams.
You will be overwhelmed by its beauty and depth, and the admiration for what human imagination, creativity, and talent are capable of producing.
An astonishingly gorgeous example of a modern classic!

Garden

By Maki Fujimoto.

Kiwi (2006)

Kiwi was created by Dony Permedi, a student in the New York City School of Visual Arts, as his Master's Thesis Animation, with music composed and performed by Tim Cassell.
Originally the main character wad going to be a chicken but Permedi found it an obvious choice. So he created Kiwi.



The animator's story is that of a kiwi bird who has a dream (he aspires to fly) and is willing to do anything to see it become a reality.
This charming short is simple yet so powerful that it sticks in your subconscious.
A great example of a dialogue free narrative, which reminds me of the first shorts of Pixar!

Not From Concentrate 2

Not From Concentrate runs daily in The Diamondback, the independent student newspaper of the University of Maryland, College Park.

It is created by Thomas Dobrosielski.

Intolerance (1916)

This is one of the milestones and landmarks in cinematic history.
The film consists of four distinct but parallel stories that demonstrate mankind's intolerance during four different ages in world history. It was made in response to critics who protested against Griffith's previous film, The Birth of a Nation, for its overt racist content, characterizing racism as people's "intolerance" of other people's views.
Films were poised between an emphasis upon visual pleasure, 'the cinema of attractions', and story-telling, 'the cinema of narrative integration' but conventions for constructing internally coherent narratives had not yet been established. In the transitional years, between 1907-8 and 1917, the formal elements of film-making all became subsidiary to the narrative, as lighting, composition, editing were all increasingly designed to help the audience follow a story. Integral to these stories are psychologically credible characters, created through performance style, editing, and dialogue intertitles, whose motivations and actions seem realistic and help to link together the film's disparate shots and scenes.



The increased use of editing and the decreased distance between camera and actors most obviously distinguish the films of the transitional period from their predecessors.
Intollerance displays a more consistent construction of internally coherent narratives and credible individualized characters through editing, acting, and intertitles than do any of the other genres.
However, the basic elements of the earlier films remained unchanged- credible individual characters still served to link together the disparate scenes and shots, the difference being that character motivation and plausibility became yet more important as the films grew longer and the number of important characters increased.
You can buy Intolerance.

Gently Elephant

Adrian Johnson issued Designed to Help, The Fundamentals of Illustration, 300% Cotton, Pictoplasma : The Character Encyclopaedia, If You Could Do Anything Tomorrow, What Would It Be?, Hand Job, Graphic 11 : Graphic Ha Ha, The Secrets of Digital Illustration : Rotovision.

Scurtă Istorie (Palme d'Or 1957)

Short History has a dual philosophical content. It's full of ideas and poetry, in a funny short story full of rhythm and imagination.
Ian Popescu-Gopo admitted that he tried to start an "anti-Disney rebellion" with his animated films. He knew he would be unable to surpass Disney's animation characters in color and beauty, so he tried to be more profound in message and substance: he simplified the form and techniques used. Gopo is, in fact, designed in simple lines.



The main character is Gopo, a Homo Sapiens, featured in most of his films, and he is a reflection of himself, almost a self-portrait. He appears to be a lost creature, an innocent party, not knowing how and why he came about. But as the plot develops he adjusts his outlook and attains the upperhand. He goes through all the evolutionary stages of history until he reaches space and discovers a new life.

Not From Concentrate

Not From Concentrate runs daily in The Diamondback, the independent student newspaper of the University of Maryland, College Park.

It is created by Thomas Dobrosielski.

Le Voyage Dans la Lune (1902)

This early silent film is repeatedly declared to be the first science fiction film and is revered as the greatest achievement of stage magician and film pioneer Georges Méliès. Lubin Manufacturing Company released another take on A Trip to the Moon in 1914, written e directed by Vincent Whitman, a work of silent animation which alas did not survive.
With a mix of stage tricks, camera tricks and several types of animation, Méliès crafts a surreal fantastic vision of the Moon with great artistic sensibility and the care of a painter. It's almost as though a painting comes to life.
Georges Méliès aimed in the film to "invert the hierarchal values of modern French society and hold them up to ridicule in a riot of the carnivalesque." (Alison McMahan).





"A Trip to the Moon" is loosely based on the books "From the Earth to the Moon" by Jules Verne and "The First Men in the Moon" by H. G. Wells, as if this whimsical fantasy really focuses on an astronomer' s dream. A group of men travel to the moon by being shot in a capsule from a giant cannon. They are captured by moon-men, escape and return to the earth.
The plot is very well-written and still captures the imagination with its wonderfully crafted visuals and its charming comedy, although it still displays a primitive understanding of narrative film technique. The editing is purely functional: the concept of showing an action twice in different ways was experimented again by Porter in his film, Life of an American Fireman, released roughly a year after A Trip to the Moon.
He used overlapping action, as a result of his desire to preserve the pro-filmic space and to emphasize important action by essentially showing it twice.
You can buy the dvds Georges Melies: First Wizard of Cinema (1896-1913) and Melies the Magician and the book Georges Melies.

Pink

By Naho Kubota.

Tie shan gong zhu (铁扇公主, 1941)

Princess Iron Fan is the first feature length animation made in China, just four years after Snow White and the Seven Dwarfs.
It resembles the early 30s Fleischer cartoons because of its strange mix of primitive drawing and imaginative metamorphosis.
This film is freely adapted from a classic 16th-century Chinese novel, Journey to the West and it's set during the Tang Dynasty. Wan Brother chose to adapt a popular national legend to renew China’s rich heritage and traditions by extending them into the new world of animation.



The novel concerns the hardship and adventures of Buddhist monk Xuanzang and his four disciples. We follow the Monkey King and his friends on their journey to the west. The tale of Princess Iron Fan is one such episode.
As they reach Fire Mountain they are unable to pass because of the fire but learn that a special iron fan can quench the flames. However, the fan belongs to Princess Iron Fan and she will not willingly lend it to them...
Wan Brothers resorted to rotoscoping, a tecnique invented by Max Fleischer, to create certain human movements.
You can buy Princess Iron Fan.

Missile Mouse

Jake Parker is an employer at the Blu Sky Studios. He has published Missile Mouse Adventures, Agent 44 Art Digest amd in various anthologies.

L'Etoile de mer (1928)

This film is based on a script by Robert Desnos and depicts a couple (Alice Prin and André de la Rivière) acting through scenes that are shot out of focus.



Originally a silent film, recent copies have been dubbed using music taken from Man Ray's personal record collection of the time. The musical reconstruction was by Jacques Guillot and it fitted this film perfectly - haunting and hypnotic.



With these loose images, sometimes seen distorted through a glass, Man Ray refuses the authority of the look. We can recognize this choicee also in the editing, which draw out the disjunction between shots, rather than their continuity.
You can buy You can buy Photographs by Man Ray: 105 Works, 1920-1934 and Man Ray (Artists of the 20th Century).

Sax

Simone Pieralli. He worked as an illustrator, graphic director and colorist. He was the editor of Funnies and Hangar.

Stanley (2000)

Suzie Templeton will intrigue audiences with her darkly comic film Stanley. While his wife wreaks violence and death in the kitchen, Stanley finds life and love in a cabbage he is growing in his barren back yard.
This short features just two human puppets and shows deep feeling and melancholy.



It's her first work and every element is already perfect. The background is delivered so well it's amazing. The final punch line is a bit subtle but up till then it's all sublime. Little details, little expressions, little movements tell so much about the inner feelings.

The Adventures of Ashley 2

You can read Faith Erin Hick 's other comics on his website.

The Gay Shoe Clerk (1903)

This film is significant as a precursor to Porter's groundbreaking classic The Great Train Robbery, which combined state of the art editing techniques to tell a 12 minute narrative story and is notable for its early use of matched shot editing, with a close-up of a female customer's ankle and a longer establishing shot used in combination with each other. This close-up insert is an example not only of the visual pleasure afforded by the 'cinema of attractions' but of the early cinema's voyeuristic treatment of the female body. Despite the fact that their primary purpose is not to emphasize narrative developments, these shots' attribution to a character in the film distinguishes them from the totally unmotivated close-up we viewed in The Great Train Robbery.



The pre- 1907 'cinema of attractions' were primarily designed to enhance visual pleasure rather than to tell a coherent, linear narrative. But many of these films did tell simple stories and audiences undoubtedly derived narrative, as well as visual, pleasure: a shoeshop assistant flirts with his female customer.
You can buy Treasures from American Film Archives.

Mushroom

By Jennifer Tong.

The Thief and the Cobbler (1993)

This film is based upon the ancient Arabian character of Nasruddin, a figure from the classic texts of '1001 Arabian Nights'. The Thief and the Cobbler is esotic and extravagant. The sheer beauty and subtlety of the simplest details are breathtaking. Generally, The Thief and the Cobbler remind me of the finest mimics of Buster Keaton.
The scenes are very intricate and it's all hand-drawn and painted cel animation. The Thief and the Cobbler is the best animated long film I've ever seen!
I hate Warner Bros for having stopped the work of Richard William.



Williams conceived the project (as a nearly silent movie) as early as 1964 but he started this ambitious animated film only in 1968 together with Art Babbit, Grim Natwick, Ken Harris, Emery Hawkins and other great animators. The film was originally self financed by Williams with money coming in from his animated commercials.
The film was gaining notoriety in the animation world as a masterpiece in the making, with over a decade of part-time attention devoted to it but it really did need some serious funding. In the late 70s, Saudi Prince Mohammed Faisil agreed to finance the film's most spectacular sequence 'The War Room'. After winning an academy award for Roger Rabbit, Williams got the film financed externally so it could be completed. I can imagine Williams' excitement: eventually each and every element which could be animated would be animated!
But he was a perfectionist and took time to work and work, often without sleep, more often without pay. Unfortunately, Williams took such a long time to make the film that Warner began to fear that their work would be stolen by Disney’s Aladdin (1992). This turned out to be a bad decision because after going over the budget the investors got nervous and pulled the film from him and had it completed by someone else. The film had about 10 to 15 min left to complete when it was taken out of Williams hands. Instead of just completing the film, the person in charge of the completion decided to re-work the film to make it more mainstream: Fred Calvert not only added dialogues and songs but replaced much of the original scenes and changed the editing.
You can buy The Thief And The Cobbler.

The Adventures of Ashley

You can read Faith Erin Hick 's other comics on his website.

Meow (1982)

Meow is a funny political tale which won the Jury's Prize at the Cannes Film Festival.



Marcos Magalhãe show us the effects of american cultural invasion. The story is simple and essential, the animation too.
He also makes Animando , a documentary about various animation tecniques.

Dum Dum Girls

Andrea Campanella is the founder member of the magazine CUT UP. His works: IL GRANDE FLOYD, ''Storia di Ermanno'', "Dum Dum Girls" '. He has been a curator of various film conferences.

Black and White High School (2003)

Charles Chadwick explores the existential potentials of non-narrative cinema and experimental music. Despite its title, this short isn't about racism but is a loose footage exploration of sexuality and infantilization.



There are repetitive patterns and visual motifs (above all the recurrence of two colors: red and blue), which explore the relationship between teenagers and sex and drugs. These arguments are depicted in the clinical and biological sense.
There are seven intermittent animated sequences, dispersed throughout the film, which illustrate the human body.

Passage of the Olympic Flame to Paris

By Vincent Rif.

The Heart Collector (2006)

The Heart Collector is a Vancouver Film School 2D animation. Featuring various surreal and metaphorical scenes of a man searching for the confidence to interact with those around him, Michael Fallik explores the harsh realities of mood disorders through his sound design.



A man with no heart rips out the hearts of lovers in order to make himself one of his own.
This short has been screened in many international festivals and was elected Best of 2006 by Channel Frederator.

Untiled (Parking Lot)

by Philip Ullrich.

The Great Train Robbery (1903)

The Great Train Robbery, often lauded as one of the first movies to include a linear narrative within its running time, came out of the Edison company over a hundred years ago, following their experiments in the previous decades with shorter topical pieces such as cockfighting, dancers and other limited scenarios.
This short is the most popular and commercially successful film of the pre-nickelodeon era and established the notion that film could be a commercially-viable medium.
In the film's fourteen scenes, a narrative story with multiple plot lines tells the story of a train holdup with six-shooters. The steam locomotive always provides a point of reference from different filming perspectives.
The precursor to the western film genre is based on an 1896 story by Scott Marble. The plot was inspired by a true event that occurred on August 29, 1900, when four members of George Leroy Parker's (Butch Cassidy) 'Hole in the Wall' gang halted the No. 3 train on the Union Pacific Railroad tracks toward Table Rock, Wyoming. The bandits forced the conductor to uncouple the passenger cars from the rest of the train and then blew up the safe in the mail car to escape with about $5,000 in cash.

The clerk at the train station is assaulted and left tied by four men, who then rob the train, threaten the operator, take all the money and shoot a passenger while trying to escape. A little girl discovers the clerk tied and gives notice to the sheriff, who at once goes along with his men hunting the bandits.
The action of each scene is told with only one shot. Almost every shot is a static, long shot, confining the action to the perspective of the camera at eye level. Edwin S. Porter used a number of innovative techniques, many of them for the first time, including parallel editing, minor camera movement, location shooting and less stage-bound camera placement. Jump-cuts or cross-cuts were a new, sophisticated editing technique, showing two separate lines of action or events happening continuously at identical times but in different places. Tension and excitement is achieved by moving the players, rather than moving the camera angles.
Even shots that approximate the point of view of a character within the fiction and which are now associated with the externalization of thoughts and emotions, are there more to provide visual pleasure than narrative information.
You can read the script.
You can buy Great Train Robbery - 100th Anniversay.

Rehabilitating Mr. Wiggles 2

Neil Swaab writes and draws Rehabilitating Mr. Wiggles.

Kataku (1979)

Kihachiro Kawamoto is a pioneer in the neglected field of stop motion puppet animation. He takes inspiration from his fortuitous meeting with the Czech maestro Jiri Trinka and from the Russian Ladislaw Starewicz. He was impressed by how Trinka's and Strarewicz's puppets truly began to take on a life of their own. But today, Kawamoto's puppets are so beautiful and expressive he can't envy his masters.



Kawamoto turned to Japan's aesthetic traditions for his subject matter.
House of Flame is based on the Noh play ‘Motomezuka - the Seeker’s Mound’, which tells the story of a young woman named Unai-Otome who is loved by two men. Not knowing which to choose, in anguish, she chooses death. And although her intentions are pure, not even the grave brings the respite she longed for from her earthly dilemma.
The short is haunting and poetic, at the same time. It narrates of passion and loss.



House of Flame isn't a pure stop motion. It's melded with more conventional 2d techniques, such as the painted matte foregrounds of flames and water as the young maiden finds herself plunged into the very depths of hell itself, both masking out and balancing the colour composition across the frame.
You can buy The Exquisite Short Films of Kihachiro Kawamoto (1968-1979) and The Book of the Dead.

Bird's Mentor

Michael Knapp. He's working at Blue Sky Studios as the Art Director on the third Ice Age movie. He previously worked as a designer on the animated films Robots, Ice Age: The Meltdown, Horton Hears A Who and spent a few months art directing the Academy Award nominated short No Time For Nuts. His work can be found in Spectrum 12 and 13 as well as the Society of Illustrators Annuals 48 and 49.

Une Histoire Vertebrale (2006)

Blackbone Tale is realized by Jeremy Clapin in collaboration with Spirit Productions, with the support of Centre de la Premiere Oeuvre (GOBELINS). It's a high result of mixing 2d and 3d: the characters are made in 3d cellshading and the remains in 2d.
This silent mute is pure poetry.


A man alone, with his peculiar physique: he has his head held low, looking down at the ground.
Clapin needs only few minutes to show you the emotional state of this man: his loneliness and his quest for a human being like him. A profound analysis of alienation and frustation of people: man needs to live with other men.

Rehabilitating Mr. Wiggles

Neil Swaab is a freelance illustrator and book designer whose clients include HarperCollins, The Utne Reader, The Village Voice, Storage Magazine, Plenty Magazine and a ton of alt-weekly papers and other trade publications. He is also the illustrator of Yet Another NASTYbook by Barry Yourgrau. In addition, Neil is an instructor at Parsons, the New School for Design, where he teaches in the Illustration department. He writes and draws Rehabilitating Mr. Wiggles.

La Joconde: Histoire d'une obsession(1958)

How many films did you watch in your life? How many films narrate the obsession of a character? It's very simple, for a cinematographer, to leave all the intepretations open but sometimes the fact could be true.

A man is obsessed by the Mona Lisa after he has seen the famous painting at the museum of the Louvre. This anecdote is the inspiraton of Heri Gruel's short. Boris Vian give free course to his imagination and tries to solve the enigma of the smile of the Mona Lisa.

La Joconde won The Golden Palm at the Cannes Film Festival.

Untitled

By Patrick Schoenmaker.

Adjustment (2006)

Ian Mackinnon graduated in Animation at the Royal College of Art with his film Adjustment. The films is, in part, animation and ,in part, drama. The result is an original work, although the filmaking is conventional.

A diarist searches for flickers of hope in a drama of technical and emotional obsession. He can't forget his woman, he can't allow her to go away.
The silenct movements give emphasis to the entire story.
You can buy the DVD compilation of all Ian's 13 films.

Puah

By Simone Altimani.

The Bangville Police (1913)

The Keystone Cops was a series of silent film comedies very slapstick-like, relying on speed and numbers to achieve their comedy, rather than sophisticated wit.
They feature a totally incompetent group of policemen produced by Mack Sennett for his Keystone Film Company between 1912 and 1917. Mack Sennett continued to use the Cops intermittently through the 1920s. By the time sound movies arrived, the Keystone Cops were an anachronism; symbolic of dated, lowbrow humor.
The idea came from Hank Mann, who also played police chief Tehiezel in the first film before being replaced by Ford Sterling.


Their first film was Hoffmeyer's Legacy (1912) but their popularity stemmed from the 1913 short The Bangville Police starring Mabel Normand.
This short, directed by Henry Lehrman, is notable for being regarded as the seminal Keystone Cops short.
At a farm near Bangville, the farmer's young daughter sees a group of local individuals in their barn. Fearful, she quickly rushes to the house and calls the police. The keystone crew in a haphazard rush across the countryside to get there in time.
This short is a visual comedy, with notable elements of slapstick.

You can buy Bangville Police (1913).

Cul De Sac

by Richard Thompson. You can visit Cul De Sac' blog and read other strips.

A Letter From the Western (1999)

A Letter From the Western Front is a well-crafted piece by Daniel Kanemoto, a film graduate of New York University's Tisch School of the Arts.
This film was produced using PhotoShop, AfterEftects and watercolor paints. Kanemoto scanned his original paintings into the computer and then used the software to composite and transform each element into the unique multiplane environment of the story.

A 25-piece orchestra performed the original score, composed by Ryan Shore.
This short is a romantic tale of a newly married soldier. It's a far cry from the sludge of South Park wannabes that normally flood these sites.
In Belleau Wood, France, during the Great War, a soldier named John writes a letter home to his wife Sara in Milwaukee. He tells her about sorties into No Man's Land and that they have orders tonight to charge. Then, his letter becomes a report of that charge: towards an armed German soldier who doesn't fire, even when John reaches him and jumps into the trench beside him. What happens next brings silence and an end to the letter.

Mini-monkey

Amy Crehore is the creator of pop surrealist oil paintings: "Little Pierrot", "Monkey Love" and "Blues Gals" series. Her works has been featured over the years in ROLLING STONE, ESQUIRE, PLAYBOY, BLAB! 17 and many other top magazines. She has exhibited her fine art in galleries and museums. You can view her portfolio at her website and you can visit her blog.

Three Blind Mice (1945)

George Dunning, like his contemporaries John Hubley and Norman McLaren, can best be described as an experimentalist, having used every medium to make animated films, including cut-outs, painting on glass, and direct painting onto film as well as more orthodox methods such as cel and paper. But he hahs been marked him as an individual talent for is use of articulated, painted, metal cut-outs.
The first films from the NFB animation unit were cut-outs, because of the equipment limitations they faced (all they had was a 35mm title stand with a vertically mounted camera). The first cut-outs were jointed or unjointed and made out of cardboard and soft metal sheets.

Dunning simplified the process and the method of making the joints. He used black thread between the shoulders and the bodies to provide greater flexibility.He needed two assistants, the animators Grant Munro and Robert Verrall, to complete this film.
Three Blind Mice tells of horrific factory accidents that befell three mice that work there. It's an educative and bizarre film because this short, using simple cut-out animation and the song "Three--- Blind--- Mice----", illustrates why industrial safety rules must be observed.
The nursery rhyme favorites prove no less foolish in the factory than when they provoked reprisal from the farmer's wife. They disobey all the safety rules with dire results.

Teeth Tunnel

You can read Tom Neely's comics on his blog.

Spook Sport (1940)

Spook Sport is an expressionistic interpretation of Danse macabre by Camille Saint-Saëns.

In the 1940's, Mary Ellen Bute hired Norman McLaren, who didn't live in Canada yet, to draw directly on film strips the characters of ghosts, bats and other figures and to synchronize them with Saint-Saëns' Danse Macabre. Some original paintings of McLaren would be reused in Bute's later films, including Tarantella (1941), Color Rhapsodie (1951) and Polka Graph (1952), where they seem less at home stylistically than in their original context. The final result is a mix of conventional cel animation and pen drawings, drawn directly on 35 mm film stock.

Although the animation moves in time to the music throughout the film, there are two particular moments that feature specific gestures synchronized to the music: when a xylophone plays a prominent theme in the music and when the timpani plays a motif later in the piece. In the first, the animation features the ghosts dancing over an xylophone made of bones; in the second, bone mallets play drums in time to the music.

This film is a splendid example of animation which responds to preexistent music both in terms of the narrative and in terms of actual sound.

The music is programmatic in nature. Although this is an abstract film, it tells a discernable story and the characters are always recognizable. Thus you feel more comfortable with the visual images.

You can buy Norman McLaren: The Masters Edition and The Film Work of Norman McLaren.

Cap'n Bush

by Miguel Valenzuela

Le Vampire (1945)

The Vampire is a pseudodocumentary, in fact, it's largely fantastical in elements. This film has stuff that speaks sub textually about Nazi Germany and the like. It certainly covers a lot of the different types of horrors in the world and it's quite original, too. The Vampire it is full of rhythm and precision.
The bats are being macro analyzed and they are personifying human emotion. After a brief overview of the general weirdness of the animal kingdom, Jean Painlevé talks as some sea creature creeps along the floor of the ocean like something out of a German expressionist film.



Then The Vampire gets a little into Murnau's classic Nosferatu, which eventually leads to a discussion about what vampire bats are like, illustrated with a live guinea pig. Duke Ellington's music scores it to bring us back to the sort of New Orleans voodoo tradition of vampires.
And thus what should be a documentary about parasites and bloodsuckers, becomes a subtle critique of the Nazi party.
Painlevé's exploration of a twilight realm of bats is very poetic. The approach is quite interesting along with being somewhat self-conscious aware. Painlevé preoccupies himself with juxtaposing things to create quite odd effects. The film is full of lush imagery and imagination.
Painlevé sees in the shapes and behaviour of the creatures he is observing, his own especial analogies and associations: the terrors of human fantasy are
set beside the terrors of creation.
You can buy Avant Garde - Experimental Cinema of the 1920s & 1930s.

Profession Clone

Translation: I'm a doctor cloning little kids; good cloning is what everybody needs!

by Andrei Bakhurin.

Hunger (1974)

The film Hunger inspired a generation of computer animators in Canada. This short is created by Peter Foldes under the auspices of the National Film Board of Canada. Hunger includes striking computer-generated interpolations of key poses drawn by hand and painstakingly digitized into the computer software.
NRC (National Research Council of Canada) scientists Nestor Burtnyk had programmed a complete key frame animation package that allowed the creation of animated sequences by providing only the key frames. The National Film Board in Montreal was contacted and thus a project to allow artists to experiment with computer animation was launched.

The first experimental film involving freehand drawings, called Metadata, was made by artist and animator Peter Foldes. This led to a more substantial collaboration on a 10-minute feature called Hunger/La Faim about world hunger and about rich and poor countries. The film took a year and a half to be created.
It became the first computer-animated movie to be nominated for an Academy Award as best short for "its trailblazing progress in the development of software and techniques for computer assisted key framing for character animation". It received other honours, including the Prix du Jury at the Cannes Film Festival and other international film awards.



This films is a satire of self-indulgence in a hungry world. Rapidly dissolving, reshaping images, made with the aid of a computer, create a stark contrast between abundance and want. A man eats, at first sparingly but soon, his appetite grows to gluttony, greed and gratification of every desire. The nightmare that finally haunts him is the one that hangs over our desparate world.
Hunger remains a landmark of early computer animation.
You can buy Best of the Best - Strange Tales of the Imagination.

All America City

by Joseph Tripi

SELECT AWARDS & EXHIBITIONS


• 11/2006 Parsons FEAST Group Exhibition New York, NY

• 11/2006 SVA BFA Photography Mentors Program New York, NY
One on one mentorship with Elisabeth Biondi- Visuals Editor of The New Yorker

nd
• 10/2006 SVA BFA Photography Gallery – 2 Floor New York, NY
Solo exhibition of Rustbelt Revival series.

• 09/2006 1635 Wharton St. Philadelphia, PA
Solo exhibition of Rustbelt Revival series.

• 09/2006-05/2007 SVA Special Photography Award New York, NY
Scholarship based upon photographic merit and GPA.

Collision (2005)

Collision seems to be an abstract reflection on the clash of cultures which forcibly merges American quilts and Islamic patterns into beautiful kaleidoscopic scenes. I'm not sure this film is an original depiction of aesthetics into politics or an abstract satire based on the geometry of flags. Why couldn't it simply be a film about RGB, the three video color channels red, green and blue?
For an American audience, particularly, the sound cues must really help identify which culture the shapes and colors represent. Many Americans will only interpret this short as a disturbing yet potent piece of abstract political filmmaking. Personally I enjoy Max Hattler's film for its aesthetic quality.

The colours work well as do the sounds effects. The transitional movements into different shapes remind me of Oscar Fischinger's works. I can also see motifs of Islamic art in the patterns. The sound might be a collision but the video ends with the ambiguous sound of fireworks, which can either be destructive or celebratory. In the end the colors smash together into a manic color wheel of harmony. Thus this work can be interpreted in a radical number of ways.

The Process

"The is a journey and exploration through a personal 'pleroma', an imaginary landscape populated by strange, wondrous creatures and archetypal characters. Throughout the creation of this story, readers will find that the art will vary radically from chapter to chapter. This relates to another stop along the way; that of the journey of the artist. By exploring this personal world, I also hope to expand and develop my own visual idiom by experimenting with new ways of making art and storytelling. Even this introduction is by no means permanent. I will be updating it and finetuning it as the story develops. Everything here is in flux and part of an exploration and investigation into life, creativity and spirituality."

You can continue to read The Process by Joe Infurnari.

The Music Box (1932)

The Music Box was directed by James Parrott, produced by Hal Roach and distributed by Metro-Goldwyn-Mayer and it's one of the longer shorts for its time. 

The film is a partial remake of their 1927 silent short Hats Off, which was filmed at the same location and is today considered a lost film. Hats Off was itself remade in the same location in a film called It's Your Move starring Edgar Kennedy in 1945. But the inspiration to build a comedy around those steps apparently came to producer Hal Roach even before Hats Off. 

Although The Music Box won the first Academy Award for Live Action Short Film (Comedy) in 1932. This little classic is generally regarded as the Stan&Ollie's best film. 

The Laurel & Hardy Moving Co. have a challenging job: hauling a player piano up a monumental flight of stairs to Prof. von Schwarzenhoffen's house. Their task is complicated not only by a sassy nursemaid and the impatient Prof. von Schwarzenhoffen himself, but also by the force of gravity, which repeatedly pulls the piano back down to the bottom of the stairs. 

What could have been one joke repeated over and over to the point of monotony, became, instead, a comic fugue with innovative variations. Stan and Ollie labor with a mighty effort but obtain minimal results: the beauty lies in watching the team work out one hilarious routine after another. 

This film is slapstick of a very high level, born of the utmost frustration. 

You can buy Laurel & Hardy (Sons of the Desert/The Music Box/Another Fine Mess/Busy Bodies/County Hospital).

Nature 05

Sebastien Chort. After 4 years working for Blur Studio ( 3 years as Supervisor), he got hired by Dreamworks for a Lighting position. He started working on Bee Movie and then Kung Fu Panda.

One EskimO - Hometown (2007)

One eskimO are a four piece indie band from London, consisting of Kristian Leontiou (vocals), Adam Falkner (drums), Martin Waugh (guitar), Jamie Sefton (bass and horns). The band have since released the heartwarming 'Hometime' (early December 2007, U.K.). The video to Hometime is animated by Smuglling Peanuts and is currently circulating through the underground, appearing on MTV TWO's 120 Minutes session and online. The band's animated video has been nominated for the Public Choice award at the 2008 British Animation Awards.

The little eskimo spent most of the time wondering and thinking up stories and singing along to all the tunes that lived in his head. You see the eskimo loved nothing more than just to sing at home in his ark. It was here in his beautiful ark that he would figure out how to join the stories with the songs that floated around in his head.
Enchanted by the beautiful sound, three very curious animals decided to be brave and follow the noise.
This musical video is very sensitive, delicate and well drawn.
The humans beings are dead, sad and blighted creatures. How can't you think about your life?

La Piovra (Octopus)

Armin Barducci. He's the penciler of Aleph, Il Giocatore. His comics have been issued in various anthologies.

Second Growth

Bill Cone works as a Production Designer at a computer animation studio.

Hourly Comics

John Campbell. You can read Hourly Comics.

Allegretto (1936)

Allegretto develops itself as an invigorating contrast between overlapping, expanding concentric circles and flocks of angular, foreground shapes that sail across the screen in time to Rainger's jazzy score.
There's a series of white and pale green lozenges, irregularly distributed across a larger rhomboid shape composed of rectangles divided into red and deep green at each of whose tip hovers a scattering of white diamonds. Diamond and oval shapes in primary colors perform a sensual, upbeat ballet to the music of composer Ralph Rainger. The geometric dance is set against a background of expanding circles that suggest radio waves. Allegretto presents an intricate layering of a number of recurring motives.



This was the first film Oskar Fischinger made after he emigrated from Berlin to Hollywood in order to escape the increasingly difficult political situation in Germany. He made the film for Paramount as a kind of interlude in a longer musical film but the collaboration collapsed completely and it was never used.
He found that Paramount had changed the film project from Technicolor to black-and-white. Also, Paramount printed the black-and-white version intercut with various live action images, so it was no longer totally abstract.
Several years later, with the help of Hilla von Rebay, the Museum of Non-Objective Painting (Guggenheim Foundation) allowed him to buy his short film Allegretto back from Paramount, so he was able to complete it in color as he had originally intended. Fischinger then redid and re-painted the cells and made a color version to his satisfaction. The layers of cels allowed Fischinger to develop rhythms, harmonies and counterpoints of forms, while the colors change from frame to frame to create lush hues on divisionist principles, achieving particularly luminous and chromatic hues that could not be produced by normal methods of animation photography (William Moritz). Fischinger was forced to finance the distribution of this film himself and was able to make only a few copies but the film was shown at museums and centers of advanced art all over the world. This became one of the most-screened and successful films of visual music's history and one of Fischinger's most popular films.
You can buy these: The importance of being Fischinger and Oskar Fischinger: Ten Films (DVD).

Robot Girl

by McBess.

Manhatta (1921)

Manhatta is the result of a collaboration between painter Charles Sheeler and photographer Paul Strand (neither of the two had previous filmmaking experience and no connections to the film industry). It is a cinematic prose poem exalting the energetic and modern pulse of New York City.
This film is a rhythmic series of images, interspersed with verse excerpted from Whitman, fashioning an expression of the city over the course of a day. Their urban portrait begins at dawn as scores of people arrive in the city for a day of work. The ten minute film spans an imaginary day in the life of New York City, beginning with footage of Staten Island ferry commuters and culminating with the sun setting over the Hudson River.
It consists of 65 shots sequenced in a loose narrative in which the primary objective is to explore the relationship between photography and film.

Its many brief shots and dramatic camera angles emphasize New York's photographic nature. Strand and Sheeler exhibited Manhatta as both projected film as well as prints made from the film strips that were used like photographic negatives. They created a sense of life.
Manhatta can be viewed as a representation of New York City through the eyes of a still photographer (Sheeler) : camera movement is kept to a minimum, as is incidental motion within each shot. Each frame provides a view of the city that has been carefully arranged into abstract compositions. For the most part, the camera stays stationary to capture the images of the extraordinary cityscape. Sheeler and Strand aimed their camera from great heights in the city’s office towers. The city’s architecture repeatedly minimizes its inhabitants. Even the construction of these mighty edifices is not a celebration of human greatness. Manhatta is an abstract and often disturbing glimpse across a city that seems too large for its people.

Untitled

Kyle Cassidy