Interesting because it operates within the constraints of modesty of the early 1960s.
Bl;ack and white
Soundtrack
Framing
Zbigniew Rybczyński (b.1949) is a Polish filmmaker, director, cinematographer, screenwriter, creator of experimental animated films, and multimedia artist.
He studied cinematography at the Łódź Film School in Warsaw (1969-1973); his thesis films were Take Five and Plamuz. During his studies, he became a founding member of the Film Form Workshop (Warsztat Formy Filmowej), the most important Polish neo avant-garde group. From 1973 to 1980, Rybczyński made his own films at the Se-Ma-For Studio in Łódź. During the political unrest in Poland in 1980, he was the head of the founders’ committee of the Se-Ma-For studio branch of Solidarity.
In 1982, during the martial law period, he managed to arrange a job contract that enabled him to leave Poland for Vienna, where he applied for political asylum. The following year, he and his family emigrated to the US, where they lived in Los Angeles and then New York. The first works he made in the US were the short experimental videos “The Day Before” and “The Discreet Charm of the Diplomacy”, both made in 1984. In 1985, he launched his own studio – ZBIG VISION – in New York, which he subsequently outfitted with the latest video, computer and HDTV technology. It was in this studio that he made his most important American films, including Steps (1987), The Fourth Dimension (1988), The Orchestra (1990), Manhattan (1991), and Kafka (1992). Between 1984 and 1989, he made more than 30 music videos. One of them – “Imagine” (1986), made for John Lennon’s composition – was the first music video ever made using high-definition technology.
In 1994, Rybczyński moved to Germany, where he co-founded the Centrum Für Neue Bildgestaltung, an experimental film center in Berlin, and later worked in Cologne. He returned to Los Angeles in 2001, where he worked for the Ultimatte Corporation and continued his research in the area where art, science, and digital technology intersect working out new standards for moving images. Among the results of Rybczyński’s long-term research and experimentation are his inventions in the field of electronic-image technology, for which he holds several US patents, and which are widely used in the film and TV industries.
In March 2009, Rybczyński returned to Poland, taking up residence in Wrocław, where he set up the Center for Audiovisual Technologies (CeTa) at the site of the city’s historic Feature Film Studio. The center, which officially opened in January 2013, includes a state-of-the-art studio designed by Rybczyński for the production of multi-layer film images, and an institute for research into images and visual technologies. After Rybczyński discovered and published huge corruption in CeTA, they fired him and subsequently he declared the renunciation of his Polish citizenship.
Genndy Tartakovsky (born 1970) is a Russian-American animator, director, producer, screenwriter, storyboard artist, comic book writer and artist. He is the creator of the animated television series Dexter’s Laboratory, Samurai Jack, Star Wars: Clone Wars, and Primal on Cartoon Network‘s Adult Swim.
He co-created Sym-Bionic Titan and directed the animated Hotel Transylvaniafilm series. Additionally, Tartakovsky was a pivotal crew member of The Powerpuff Girls and worked on other series such as 2 Stupid Dogs and Batman: The Animated Series.
https://en.m.wikipedia.org/wiki/Genndy_Tartakovsky
“I propose the use of animation in relation to indigenous people as a means of just telling you that these people are human. Animation is not related to the indexical image. It is able to emulate the human emotion and experiences even if to a fantastical level…since the artist’s hand is very obviously involved in bringing these images to life, animation is not pretending to be alive as is the case with taxidermy. Unlike ethnography, it is not tied to a singular story or to any absolute truths. It allows multiple interpretations of the human experience”
“Animation can be used to emulate something that is intangible, something that is humanity. It is our soul, unlimited by the preconceptions and expectations of the ‘real’ image.“
A distinctive African feminist voice from Kenya. Highly skilled animator combining work in different physical media: cut-out puppets, drawing and charcoal, photography and video that are then composited and manipulated digitally. The fluid movement comes from the video. The other media are more static with puppet manipulation and boil effects.
Issues:
– Uses a lot of dialogue and text in English
– Many of the concerns are from urban areas. How far do these resonate with poor rural areas, or represent their voices?
Uses digital compositing of multiple media. But reliant on English text commentary.
This migrant business is particularly effective visually – the combination of very gritty drawings and manipulated video effects, overlaying newspaper clippings and use of ‘binocular framing. Though the commentary is very direct and not so clear on what can be done by the viewer.
Ahwak Runaway This film was made at the Ölands folkhögskola last week, during a two-day animation workshop. The students chose Kanye West’s #Runaway film to work with. We selected a sequence and each student was given one second (25 frames) to reinterpret in any way they wanted. Most of them printed out the frames, some worked digitally. They began drawing, painting, gluing flowers, and even foil paper onto their frames, playing with masks and blending modes and layering in Adobe Photoshop and Adobe After Effects, and worked late into the night to create this beautiful piece. As we were putting the frames together the next afternoon, trying to beat the deadline, we were asking ourselves what to do with the sound. At the same moment, one of the girls began to play a song from #Syria on her phone; Jamal Slitine’s Hobbi Lak.
Gottfried Mentor is known for his powerful tragi-comic social/political allegorical animations using CGI animals. These are very expressive in terms of visuals, dramatic narrative and sound effects/music and fully comprehensible without text. He works with the German animation studio Film Bilder.
His tragi-comic narrative style, and use of bright colours and anthropomorphic animals has influenced my animation in Pig Tales, India.
!! This is the most interesting. Do detailed narrative analysis of why this is so funny and serous at the same time. Use of dramatic timing, sound, framing, similarities and differences – and lots of blood.
More about Filmbilder animations. See also Andreas Hykade.