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| WEDNESDAY
23 june, 6.00pm
acmi cinema 1 |
| Admission
age: 18+
(Films in competition)
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‘Direct-to-film’ is, by any definition,
a painstaking way to create animation. Scratching or hand painting
tiny images directly onto film stock one frame at a time takes
a steady hand and a mystical grasp of ‘visual rhythm’.
Len Lye and Norman McLaren were the earliest, and
most important, exponents of the form but contemporary animators
such as Richard Reeves and Steven Woloshen (both long-time MIAF
favourites) continue to create stunning examples of the technique.
This program combines a selection of outstanding,
recently released ‘direct’ films in competition, adds
in a small sample of stunning classics that illustrate the incredible
capabilities of the technique, and rounds it out with a mini-retrospective
of Steven Woloshen’s work – MIAF’s special guest
– who will introduce the screening, explain some of the
finer points of creating ‘direct’ animation and answer
questions.
> visualmusic.ning.com/profile/StevenWoloshen
REGISTER
FOR STEVEN'S 2 DAY MASTERCLASS
Thu 24 & Fri 25 June 2010
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| IN COMPETITION |
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Dialogue
Judith Poirier
Canada, 2009, 4'00
A powerful visual dialogue using good ol’ fashioned
‘rub-on’ LetrSet type applied directly to transparent
film-stock.
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Deux Regards
Kang Min Kim
USA, 2008, 3'00
At the interstice between materiality and immateriality, direct
work on the filmstrip is digitally rendered, creating tension between
surface and depth. |
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Les Oiseaux, Le
Vent, L'Orage
Eloi Menard
Canada, 2008, 1'45
A life is perhaps more real – more permanent – in the
memories of the people it actually touches. |
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Tattoo Step
Mike Maryniuk Canada,
2008, 1'15
Temporary tattoos fixed directly to film-stock creates a permanent
depiction of ancient Manitoban spirits. |
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Ultimo: "Spong
Ice" Bolos Quentes Design
Portugal, 2008, 3'30
Part DIY music video, part hand-painted-over-live-action hybrid. |
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The International
Photon Nikolaus Jantsch
Austria, 2007, 4'00
A light-particle photon speeds towards earth, creating and defining
new streams of colour as it travels. |
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Traffiiiik
Robert Pasternak
Canada, 2007, 1'30
An experiment in visual timing using "border
tape" applied directly to clear film stock. |
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5 Tears
Colin V Barton
USA, 2008, 3'30
A shedding of past debts. Each tear represents a point of regret that
gets purged. Fake religion, fake friends, false society, lost love,
and loss of innocence are the basic segmented themes. |
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Dialogues
Ulo Pikkov Estonia,
2008, 5'00
Absurdist humour is drafted as a means to take a close look at the
overload of signage systems in modern, hi-tech society. |
| STEVE WOLOSHEN
RETROSPECTIVE |
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Ditty
Dot Comma
Steven Woloshen
Canada, 2001, 3'00
A masterpiece of visual punctuation set to a very lively Oscar Peterson
and Buddy Rich jazz classic. |
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Changing
Evan
Steven Woloshen
Canada, 2006, 3'00
Filmmaking as therapy – the filmmaker attacks the film surface
in reaction to a viral attack on his young daughter. |
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The Curse
Of The Voodoo Child Steven Woloshen
Canada, 2005, 3'30
Hendrix lays down the ultimate soundtrack to this piece of reconstructed,
found footage. |
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Playtime
Steven Woloshen Canada,
2009, 3'15 "Let's Paint!" Playtime indeed. A
pirouetting parade of playful images set to an equally playful jazz
track by Oscar Peterson, Ray Brown and Ed Thigpen. |
| CLASSICS |
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Mothlight
Stan Brakhage USA,
1963, 4'00
Made by adhering moths directly to the film-stock and deliberately
playing with the conventions of positive and negative film imagery.
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Moonlight
Barbel Neubauer Germany,
1997, 4'15
A poem to the moon, its voice being the saxophone. Plants and birds
undergo metamorphosis by night creating an abstract jungle. |
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Two
Sisters Caroline Leaf Canada,
1991, 10'30
The fragile line that can exist between the perception of protector
or jailer is fractured when a man enters the shadowed, enclosed world
created by two women. |
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Linear
Dreams Richard Reeves Canada,
1997, 7'00
A stunning amalgam of "line" and "ear" bring together
scratched images on film with a hand-scratched soundtrack. |
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Stars
And Stripes Norman McLaren
Canada, 1941, 2'15
One of McLaren's earliest films. A stirring marching band provides
the power for an acrobatic choreography of stars and stripes. |
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