Re-Cycling

Re-Cycling

Italija, 2014, dcp, 10:00

Collective work (Arte Video, Association Viva Comix)

Art Director: Paola Bristot
Editing: Paola Bristot
Animation: Joni Männistö, Vessela Dantcheva, Gábor Ulrich, Ülo Pikkov, Rastko Ćirić (Screenplay, Co-Writer, Makeup Consultant, Colouring: Selena Pješivac), Petra Zlonoga, Špela Čadež (Animation Assistant: Matej Lavrenčič), Marina Rosset, Regina Pessoa, Magda Guidi
Soundtrack coordination: Andrea Martignoni
Graphic design and titles: Giulio Calderini, Michele Bernardi
Production assistant: Fosca Pozzar Colinassi
Producers: Claudio Zorzenon, Giuseppe Tissino, Paola Bristot
Associate producer: Paolo Polesello
Distribution: OTTOmani

Supported for the Development by Fondo Regionale per l’Audiovisivo FVG (Friuli Venezia Giulia Audiovisual Fund).

 

The ‘Re-cycling Project’ involves 10 animation artists, coming from different European countries. Each of them will make 1 minute of animation on film, drawing directly on it, using their own style.

 

Direct drawing on film has a long history. It was one of the earliest techniques of experimental abstract cinema in the 1920s and 1930s, with works by Oskar Fischinger, Hans Richter, Walther Ruttmann. Norman McLaren continued to experiment, creating a peculiar series of films, which later became a milestone for everyone wanting to work with this technique. As a tribute to the master, the concept of this film started with the anniversary of the birth of Norman McLaren!

 

Ten of the most interesting European animators will continue this "tradition" in a collective opus – RE-CYCLING: Špela Čadež (Slovenia), Rastko Ćirić (Serbia), Vessela Dantcheva (Bulgaria), Magda Guidi (Italy), Joni Männistö (Finland), Regina Pessoa (Portugal), Ülo Pikkov (Estonia), Marina Rosset (Switzerland), Gábor Ulrich (Hungary) and Petra Zlonoga (Croatia).

 

The idea blossomed from a fertile ground of artistic research conducted in various fields: comics, illustration, visual arts; and is based on an experimental and creative approach with a distinctive situational mark. The ten artists will participate in a game, and will have to follow some basic rules regarding technique, subject matter, length, and predetermined deadlines.

The selected technique is direct drawing on film, although the authors are not specialists in this procedure. This requirement puts them in a position where they are equal, and provides a good chance for them to challenge themselves.

 

The subject matter relates to an item each artist will have to choose. The ten objects will be collected and then exchanged, so that each author will receive something chosen by someone else, and will not know by whom and why. This creates a fil rouge between the participants: even if they are working autonomously, there will be a connection. This element is the glue that ties the work together, creating an imaginary continuity.

 

Original style and some surprising elements arising from the applied technique – drawing directly on film – make the result very interesting.

 

The art director of the film and the author of the ‘game’ is Paola Bristot, Professor of Theory and Technique of Cinema at the Academy of Fine Arts in Bologna, curator of several international visual and graphic art exhibitions and artistic director of Piccolo Festival dell’Animazione.

Animation Has No Borders

Animation Has No Borders

Nizozemska, 1986, 35mm, 4:15

collective

Thirty-six animators from 36 different countries, under the direction of Peter Sweenen, worked together to illustrate the music of “The Internationale” with images designed directly to the film celluloid. This film project is an example of international artistic cooperation in an era when many borders were still inaccessible.

Doctor, my son is an animator

Doctor, my son is an animator

“He doesn’t play football… he’s only drawing, all the time. What’s his problem, Doctor?” A strange clinic brings surprise and relief to a young mother who is worried with the unusual behavior of her pre-teen son.

 

Renowned animators, such as Michaela Pavlatova, John Weldon, Ennio Torresan, Fabio Yamaji and Juan Pablo Zaramella were invited to act (no professional actors in this film!) and give animated testimonies about their childhood.

Mar à vila

Mar à vila

Portugalska, 2014, hd, 2:25

Students of the 12th grade, under the guidance of Bastien Dubois.

 

The wide embrace of the sea to the land and people of a city which thus shows its mood.

Sailor's Grave

Sailor's Grave

( KIMUAK )

Španija, 2011-2014, dcp, 5:25

collective

The horrors of a shipwreck, the bells of a forgotten lighthouse and the coming and going of the tides surround a tale about the sea. Sailor’s Grave is the result of a workshop based on a work method taking its inspiration from the “exquisite corpse” game, a mechanism of collective creation where the participants manipulate and transform one another’s drawings to construct an intuitive, improvised narration.

 

10 artists (Vuk Jevremović, Carlos Santa, Cecilia Traslaviña, Juan Camilo Gonzalez, José Belmonte, Isabel Herguera, Wang Liming, Cheng Kemei, Richard Reeves, Koldo Almandoz) from different disciplines work together on a collective project about the sea. Each one directs an animation workshop carried out simultaneously in different art centres across the world.

Yellow Sticky Notes / Canadian Anijam

Yellow Sticky Notes / Canadian Anijam

Kanada, 2013, hd, 7:40

 collective

 

 

For the first time in Canadian history, 15 of Canada’s most highly acclaimed independent animators have come together to create one animated film. Yellow Sticky Notes | Canadian Anijam is an innovative and collaborative approach to animation filmmaking and unites animators from Vancouver to Halifax, and all parts in between, to self-reflect on one day of their lives using only 4×6 inch yellow sticky notes, a black pen and animation meditation. Featuring animation from the original Anijam creator Marv Newland along with Oscar® winners Alison Snowden and David Fine and Academy Award® nominees Cordell Barker, Janet Perlman, Chris Hinton, and Paul Driessen. Other award-winning animators, Jeff Chiba Stearns, Jody Kramer, Howie Shia, Jonathan Ng, Lillian Chan, Malcolm Sutherland, Joel Mackenzie, and Louise Johnson round out the ‘anijammers.’

 

To create Yellow Sticky Notes / Canadian Anijam, the animators were asked to self-reflect through animation on personal and global events that impacted one day of their lives. Starting with a ‘to do’ list written on the day of a memorable event, the animators transitioned from text to imagery by utilizing ‘animation meditation’ to create a visually animated poem representing how their lives were affected by that pivotal day. In the end, the thousands of sticky note drawings are linked together to create a dynamic and inspirational animated film that connects the human spirit while celebrating individual artistic expression with the goal of inspiring future generations of animators.

Watching the Ball

Watching the Ball

Nemčija, 2014, hd, 12:30

collective

 

The final match of the world cup 2010: across different countries, cultures and social backgrounds people all over the world watch mesmerized for 120 minutes 22 sweaty men and 1 ball. How will the course of the match impact their life? Will their story interact with the other stories? And by the way: Which team will win?

 

Watching the Ball is an episode film, where the single episodes alternate in the rhythm of the final match of the Football world championship 2010. Every episode is animated and directed by another artist. Ten animation filmmakers from 5 countries (Anastasia Tasić, Ivan Ramadan, Katre Haav, Krunoslav Jović, Martin Kleinmichel, Michael Schwertel, Nenad Krstić, Tatjana Moškova, Till Laßmann, Uroš Krčadinac, Vid Rajin) trace the unification of cultural diversity back to local stories in an animated film, showing a global phenomenon from different angles.

 

Performing

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