Permanent series “Self-portraits of Animation Artists” is one of the most eagerly awaited parts of each edition of Etiuda&Anima festival. During interactive meetings with the audience, the greatest personalities of modern artistic animation talk about the tricks of their trade. Guests during this year`s edition of the series are Igor Kovalyov (21.11) and Izabela Plucińska (22.11).
Animation can be used not only to create a fairytale, a beautiful world that enchants children's audience. (more…)
Signe Baumane is one of the most groundbreaking female animation creators. On 22. IFF Etiuda&Anima she is going to appear in a cycle ‘Animator’s self-portraits’ and speak about her creative process.
Silent Snow White and loud Miss God – we are happy to invite you to silent movie and live music evening. (more…)
Apparently advertising is the leverage of trade. It can also be a successful tool of propaganda. On Wenesday in Malopolski Ogrod Sztuki we show produtions commissioned by Bata: footwear adverts from years 1935 - 1940 and documents on Zlin from 1936 – 1945.
Maciej Gil about Bata’s film productions:
At the turn of 1920s and 1930s the industrial empire established and managed by the Bata brothers, Tomáš and Jan Antonín, was present all over the world and comprised countless industries – apart from the shoe industry it also included chemical, textile, paper, agricultural, aviation, tyre, hotel, insurance industries and many other. It comes as no surprise that at one point cinematography entered their sphere of interest, too. The company commissioned the first commercials at the end of 1920s in Prague studios. In the summer of 1934 an advertisement was published in Czechoslovak papers about recruitment of workers for the emerging atelier in Zlin, the capital of the Bata empire. The director and screenwriter, 25-year-old Elmar Klos, the cameraman and editor, 27-year-old Alexander Hackenschmied and the producer, 32-year-old Ladislav Kolda were hired in December, the production plan was accepted in January 1935, and in the autumn of the same year the construction of the studio existing to the present day started. In 1936 the three men mentioned above were sent to Hollywood to see the best do it and bring back appropriate patents, whereas in August of the same year the first commercial was made in Zlin.
It is estimated that in 1927–1942 the company Bata commissioned or made itself about 170 films: commercials, documentaries, chronicles and etudes. Many of them disappeared or got burned in 1944 in the bombed cinema in Zlin. What survived constitutes a unique testimony of what the pre-war commercial and propaganda looked like, but also of what great artistic freedom was enjoyed by their authors, among whom there were many Central-European film classics.
It is worth mentioning that Klos and Hackenschmied, who started their adventure with film in the studios in Zlin, were awarded Oscars in 1966: the former in duet with Ján Kadár for the best foreign language film Obchod na korze (The shop on Main Street), the latter (as Alexander Hammid) together with Francis Thompson for the best documentary To Be Alive!.
Under the company Bata – Shoe commercials 1935-1945
Malopolska Garden of Arts (small screening room) 25th November (Wednesday), 5 p.m.
Under the company Bata – Documentaries about Zlin 1936-1945
Malopolska Garden of Arts (small screening room) 25th November (Wednesday), 6.30 p.m.
Feel invited to a two-piece show that includes almost one hundred years of Swedish animation. The program includes animations selected by Midhat Ajanovic “Ajan” from the University West Trollhattan .
We'll see the oldest productions, such as Th Magic Potion (1915) or Captain Grogg is Being Portrayed (1917) and the latest including Las Palmas (2011) and Bath House (2014). The special guest of the show will be Teresa Glad - Swedish animator, screenwriter and cartoonist , the author of the film Gunnar Catches an Owl ( 2003).
Midhat Ajanovic “Ayan” about the history of Swedish animation:
Animated children’s films, commercials, animated documentaries, as well as films influenced by comics made by distinct individualists are the cornerstones this cinematic phenomenon is based on.
Victor Bergdahl was a sailor, a painter, a cartoonist, a reporter and also an author. But above all he deserves his place in history as an animator. His first encounter with animation was in 1912 when he, by coincidence, had seen Slumberland, an early animated film from 1911 by the American genius Winsor McCay. The film, in fact a staging of Mc- Cay’s cartoon drawings from the strip Little Nemo in Slumberland, gave Bergdahl the impulse to try animation himself.
The same year he finished drawing his first movie, but it wasn’t filmed until 1915 when the famous manager of Svenska Bio, Charles Magnusson, realized the potential of animated films. The film is The Magic Potion (Trolldrycken). The bizarre contents and abstract graphic elements place it at least fifty years ahead of its contemporary animations. The “leading character” of the film is alcohol, which continued to play an important role in the films of Bergdahl and probably in his life, too. Bergdahl was soon to create “the drawn pictorial joke” about his alter ego Captain Grogg, a discarded sailor with a pug nose, permanently armed with a pocket flask that often helps him out from difficult situations and dire straits. Captain Grogg was in fact the first true animation of the European continent with a recurring character. In all there were thirteen episodes with the liquor-loving Grogg. Rather frank erotic passages, jokes and innovative animation made Bergdahl famous even abroad.
However, Bergdahl got an unusual successor in Arvid Olsson, who was the most prolific film animator in Sweden since the 1930’s until the 1950’s. As a young student in Paris in the 1930’s he became interested in animation. Back in Sweden he devoted his time to the commercial animation. Olsson created the first Swedish animated film with sound track, a humorous commercial about Swedish monetary value, The Lunar Eclipse of the Kruna (Kronans Manförmörkälse) in 1931. In 1934 he became the first Swede to work with colour film in professional way.
After the break caused by WW2 animations production restored since the mid-1950s. During the coming years, Nils Holgersson, Alfons Aberg, Peter-No-Tail, Laban, Pettson and Findus, Bamse and other popular characters from children’s literature became heroes of TV series and animated features. Alongside the former Czechoslovakia, Sweden was actually one of the European countries with, relatively speaking, most animated feature films, which were almost exclusively produced in the Disney inspired cell animation technology. Thanks to such a considerable production Gunnar Karlsson, Stig Lasseby, Olle Hallberg, Tor-Erik Flyght, Rune Andraasson, Jan Gissberg and Per Ahlin as a leading figure built the second-generation professional animators. Thanks to television, a new market for animated children film, several companies specializing in animated films started. As a typical product for television animation one can take Olof Landstrom’s and Peter Cohen’s classic children’s programme, Kalle’s Climbing Tree (Kalle klättertredd), with seven year Old Kalle laying in his apple tree thinking about life and love, with Grandpa sitting below, reading a magazine.
Despite the financial cuts that hit television in the 1970s became a period when children’s film bloomed so strong that even today in the country exists an idea of animation as “something for children.” Johan Hagelback, who is one of Swedish most influential animators, began his successful career at that time. His peculiar productions have amused children and grownups alike. He has created several shorter series for children and participated extensively in the SVT children’s program. Hagelback made a series of short and sometimes almost mid-length animated children’s films as Who will comfort Toffle? (Vem ska trösta knyttet?, 1980) based on Tove Jansson’s classic picture book. Besides this immense work with children’s film he created even some personal and some wayward short films intended for adult audiences. One of his most famous characters is Charles Nonsens who was first seen in the TV. Fish and Chips was one experimental film for adults and it has, among other things, been exhibited at MoMa in New York.
After the 1980s many talented femalke animators have come forward fighting for gender equality in Swedish animation. Like in other animation cultures female animators in Sweden showed propensity to experiment and use other techniques than cell animation. A special place in that context belongs to Birgitta Jansson, one at the College trained artist, who began animating with Per Ahlin in the 1970s and then continued independently. Her biggest success was Sweden’s first clay animation, 13 minutes long award winning Holiday home (Semesterhemmet, 1981). Animations bring to life conversations recorded at a retirement home, where the tenants tell their life stories. The film’s documentary qualities laid the groundwork for a whole genre and is still a fascinating piece of work.
An important event for Swedish animation occurred in 1996, when Konstfack, University College of Arts, Crafts and Design in Stockholm founded its department training in animation located in a small town Eksjö. Driving force behind the project was Stig Lasseby, and since 1999, also Witold Nowak. In addition to educational activities the Department also managed to conduct serious research, organize conferences and seminars, start an animation festival and a regional resource centre for film and animation, expose the students’ work at various places in the world as well as publish Animagi, a journal for animation studies. Most important of all was the fact that over 120 pupils and students have graduated there, which changed the Swedish animation for all times. Gunnar Catches an Owl (Gunnar fangar en uggla, 2002) by Teresa Glad is a typical student film of the Eksjö College. In a beautiful cut out animation the film tells a story about Gunnar who dreams of having an owl.
Digitization from the mid 1990s ON increased possibilities for animated documentary which definitely became the most prominent genre in new millennium. As typical examples for documentary approach one can take Blu-Karma-Tiger (2006), subtitled “a documentary about graffiti”, by the filmmaker duo Mia Hulterstam and Cecilia Actis.
In this century’s first decade something that appears to be a small renaissance occurred in Swedish animation. One of younger animators that distinguished himself was Gothenburger Johannes Nyholm who, with his formidable energy appears as something of a one-man army who both directs and produces his films as well as a number of music videos. Already his very first professional movie, Puppet boy (Dockpojke, 2007), became Sweden’s probably most award-winning animated film of all time. With this work Nyholm managed to create a distinctive fantasy world characterized by a refreshing sense of humour. It is, however, a movie whose plot unfolds in real time, and the execution of the animation is anything but perfect. It is rather that clay figure representing the main character is the sloppy animation – you can almost see animator’s fingerprints on it – and the doll looks to melt under the headlights. The film’s nonchalant surface hides a serious message about modern human’s loneliness and her incredible difficulties in reaching other people. Another great success was Las Palmas (2011) in which Nyholm combined these live-recorded scenes with his two-yearold daughter, who plays the role of Marja, a spoiled, middle-aged Swedish tourist in Las Palmas whereas other characters are played by puppets on the same scale as she. Marja hasn’t grasped the social conventions that apply when vacationing in the sun, which provided foundation for a bizarre humour.
100 years of Swedish Animation (I)
25th November (Wednesday), 7 p.m.
100 years of Swedish Animation (II)
26th November (Thursday), 7 p.m.
Rotunda (large screening room)
The serie “Europe in the short film” has just started. Yesterday we saw the Polish short films, created with the support of the Munk Studio. (more…)
Marcin Wrona – born 1973 in Tarnów, director, screenwriter; film, television and theatrical producer. Member of the European and Polish Film Academies. He was a graduate of Film Studies at the Jagiellonian University in Kraków and Directing at Faculty of Radio and Television at the University of Silesia in Katowice. He graduated also from Wajda Master School of Film Directing and the Binger Film Institute in Amsterdam (2005). Since 2006 he was a university teacher – he taught directing at the Faculty of Radio and Television in Katowice. Author of the full - length feature films - My Blood (2009) and Baptism (2010). His etude Man magnet has received the Grand Prix "Golden Dinosaur" at Etude & Anima Festival in 2002. He died on 18 September 2015 in Gdynia.
“So, I lived very close to the place where we are right now and did film studies. And my first contact with such a festival, with such cinema, as if from the outside, student, from various parts of the world, from various film schools, it was right here, at the festival Etiuda. Back then it was called Etiuda, now it has this two-part title Etiuda and Anima. And it was really the time when I had the chance to watch films from the FAMU school in Prague, for example from the school in Tel Aviv, from schools in South America. I remembered that time very well, I envied those people so much that they could travel the world like that, among others, that they could come to Krakow, show their film; this confrontation always seemed valuable and interesting to me. Later this dream of mine to find myself at this festival came true in such a way that I completed my graduation film Człowiek Magnes/The Magnet Man near here in the school in Katowice, which as it turned out won one of the editions of this festival. It was maybe 9 years ago. So I’m a prizewinner of this festival, and the following year 2003 I was one of the jury members. So really this festival Etiuda got stuck very much in my biography and I can say that it all began here. (…) Festivals of this kind simply show us that this is some kind of responsibility, that we represent a certain world. And what is also important is the fact that at such a festival we learn that what we tell in this particular place of ours in the world is communicable, is understandable somewhere else.”
Fragment of a recorded interview with Marcin Wrona for the production of the film Laterna Magica, given to Miłosz Kozioł during the 18th edition of the festival Etiuda&Anima, in November 2011.
Last Farewell to Marcin Wrona
interview Marcin, Magnet Man (2001), Demon (2015)
Malopolska Garden of Arts - Small Screening Room 23rd November (Monday) at 5 p.m.
Another animator who will present her working methods to the audience of Etiuda & Anima within the “Self-Portraits of Animation Authors” event, is Signe Baumane. (more…)
Ceremony of presenting the award
The International Animated Film Association (Association Internationale du Film d’Animation) annually presents its ASIFA Prize for outstanding achievements in the art of animation. Established in 1985, the ASIFA Prize is conferred to greatest living artists and the most influential figures in world animation. In its 30-year history, the ASIFA prize has been presented to the likes of John Halas (1986), Karel Zeman (1987), Fyodor Khitruk (1989), Daniel Szczechura (1990), Jan Švankmajer (1990), Yoji Kuri (1993), Paul Driessen (1994), Te Wei (1995), the Quay brothers (1998), Priit Pärn (2001), Raoul Servais (2004), Normand Roger (2006), Borivoj Dovniković Bordo (2011), Bruno Bozzetto (2012), and Joanna Quinn (2013). This valuable trophy, which takes the shape of the work of an artist representing the international animation community, is traditionally awarded on one of the major global animation festivals. On numerous occasions it was presented during the festivals in Annecy, Zagreb, Hiroshima, Varna, Ottawa and Espinho. ASIFA Prize 2014 for the first time will be awarded in Poland, during the Etiuda&Anima festival. By the decision of the ASIFA Board, this year’s laureate will be a man of many talents, active on many fronts, the most eminent artist from the Republic of South Africa, William Kentridge.
Born in 1955, in a family of Polish-Lithuanian Jews, Kentridge has experience as an actor, theatre and film director, director of opera spectacles and scenographer; however, first and foremost, he is a visual artist, author of drawings and prints, as well as animated films, which are created in conjunction with his visual exploits. He is recognized as an artist with a vast cultural background. Often compared to Buster Keaton and Georges Méliès, his works also exhibit traits of European Dadaism and expressionism and show inspiration from George Grosz, Otto Dix, Ernst Ludwig Kirchner, as well as African art, which can easily be attributed to his African studies at the University of Witwatersrand. Kentridge himself particularly emphasizes the influence of: Jeana-Antoine Watteau, William Hogarth, Francis Bacon, Ėduard Manet, Pablo Picasso, Samuel Beckett and Vladimir Mayakovsky.
His path to visual arts and animations was roundabout and, among others, led him through theatre studies at L’Ėcole Internationale de Theèâre Jacques Lecoq in Paris. As Kentridge admitted himself: ‘I failed at painting, I failed at acting, I failed at film making, so I discovered at the age of 30 that I was back making drawings’. His path to film animation was paved with charcoal drawings, which, as he emphasizes, offer the ability to quickly reproduce the though process involved in creating a film. Throughout 1989-2003, a time crucial for his animation career, Kentridge created 9 shorts forming a cycle under the common title of 9 Drawings for Projections. The technique employed in the making of these films consisted in drawing with charcoal on large sheets of thick paper, then erasing and redrawing successive images on the same sheet.
Kentridge is known for screenings of his films on many festivals, but owes his world renown primarily to exhibitions in prestigious museums and art galleries. He was featured as part of the Documenta exhibition in Kassel, Germany (1997, 2003 and 2012), the Museum of Modern Art (MoMA) in New York (1998, 2010), the Albertina museum in Vienna (2010), Jeu de Paume Gallery in Paris (2010), as well as the Louvre (2010) where he presented Carnets d’Egypte, a project conceived specifically for the Egyptian Room.
In the recent years, much of his time was also devoted to opera. In 2011, his production of Mozart’s The Magic Flute was presented at the de la Monnaie theatre in Brussels, Festival d’Aix in France and the La Scala opera in Milan. His staging of Shostakovich’s opera The Nose was featured in the Metropolitan Opera in New York in 2010 and 2013. However, Kentridge did not remain idle on other fronts: in 2012 he presented a 5-channel video and sound installation The Refusal of Time on the Documenta (13) exhibition in Kassel. Since then the installation was displayed in the MAXXI museum in Rome, in the Metropolitan Museum in New York, as well as other cities including Boston, Perth, Kyoto, Helsinki and Wellington. A major survey exhibition of Kentridge’s works was organized in Rio de Janeiro in 2012 to be later moved to Porto Alegre, Sao Paolo, Bogota, Medellin and Mexico. Schubert’s Winter Journey song cycle in Kentridge’s interpretation was presented in 2014 on the festival in Vienna, Festival d’Aix and during the Holland Festival. Since then, the Winter Journey arranged by Kentridge was performed in the Lincoln Center in New York, Petersburg, Moscow and other European cities. Paper Music, a projection with live music by Philip Miller, premiered in Florence in September 2014. It was also presented in the Carnegie Hall in New York a month later. Alban Berg’s opera, Lulu, directed by Kentridge premiered this summer in Amsterdam and will feature in the repertoire of the Metropolitan Opera in New York in November. In November 2016, Lulu will travel to the English National Opera in London. It would be a near impossible task to name all the artistic initiatives Kentridge has been involved in – his agenda is so tightly packed that it should come as no surprise that he will be staying in Kraków for merely 30 hours arriving from Salzburg, where is preparing another exhibition, to leave for Johannesburg the next day.
In 2010, Kentridge was awarded the prestigious Kyoto Prize for his contribution to art and philosophy. In 2011, he was inducted honorary membership in the American Academy of Arts and Letters, and received the degree of Doctor of Literature honoris causa from the University of London. In 2012, Kentridge presented a series of lectures during the Charles Eliot Norton Lectures at the Harvard University. He was appointed member of the American Philosophical Society and American Academy of Arts and Sciences. In the same year the Tel Aviv University awarded him the Dan David Prize, and he was named as Commandeur des Arts et Lettres by the French Ministry of Culture and Communication. In 2013, William Kentridge was awarded an Honorary Doctorate in Fine Arts by Yale University and in 2014 the Honorary Doctorate in Literature by the University of Cape Town. In 2015, Kentridge was elected as Honorary Member of the Royal Academy of Fine Arts in London. On 23 November 2015 this wealth of prizes and awards will be joined by the ASIFA Prize 2014, this time made by the world-renowned prof. Jerzy Kucia – winner of ASIFA Prize 2015 presented in Espinho, Portugal.
22. IFF Etiuda&Anima Inauguration + ASIFA Prize for William Kentridge
Malopolska Garden of Arts – Large Screening Room November 23th (Monday), 8 p.m.
WILLIAM KENTRIDGE. HOW WE MAKE SENSE OF THE WORLD
Malopolska Garden of Arts – Small Screening Room 24th November (Tuesday), 7 p.m.
Ladies and Gentlemen,
the 22nd edition of the International Film Festival Etiuda&Anima 2015 will be inaugurated by an exceptional event. For the first time in history Poland will host the award ceremony for the annual award of the International Animated Film Association (Association Internationale du Film d’Animation), the ASIFA Prize. For the year 2014, the prize will be presented to William Kentridge, a very versatile artist of world renown from the Republic of South Africa. As you see, the festival will start on a very high note and we hope to keep you on your toes until its very last event.
What can you expect during the festival, what events can you participate in? Before inviting you to participate in etude and animation competitions, we will first say farewell to one of the most influential contributors to our festival in its entire 20-year history. The unexpected departure of Marcin Wrona has left the entire Polish film community in sorrow, but also made its painful mark on our festival as Marcin was among those who could say about themselves that ‘the festival Etiuda got stuck very much (…) in my biography; (…) it all began here’.
At the core of our programme there are 7 screenings of etudes and 6 of animated shorts, a total of 100 productions, all competing for awards. These will be judged by two official jury boards, the FICC jury and two separate student juries. This year, as before, we also hope to see the Artistic Director of the Festival give out his special award, the Great (Un)Appreciated. The annual Special Golden Dinosaur Award, whose winners are already known at the opening of our festival, will be presented, yet again, to two pedagogues from the Lodz Film School. This year, the winners are Mirosław Dembiński and Maciej J. Drygas for their international initiatives in the art of documentary filmmaking – World from Dawn till Dusk (Świat od świtu do zmierzchu) and Young People about Themselves (Młodzi o młodych).
The ample selection of fringe events accompanying both competitions will again encompass tried and proven points in the programme. Kaspar Jancis, an animator and musician from Estonia, the frontman of Criminal Elephant (Kriminaalne Elevant), not unfamiliar to the audience of E&A, will tell us more about himself in Self-Portraits of Animation Authors cycle. Self-Portraits will also feature an American artist of Latvian descent, Signe Baumane, whose Rocks in my Pockets were part of last year’s edition of the festival. We will also be presenting a somewhat in absentia appearance of brothers Stephen and Timothy Quay, who were forced to cancel their arrival at the 11th hour. Their work will, however, be presented by a great admirer of theirs, Christopher Nolan (Memento, Inception), who took it upon himself to popularize the Quays’ work in the USA and agreed to screen a set of their films on our festival, as well as a documentary of his making on condition that a 35 mm film is used.
As part of fixed points in our programme, prof. Tadeusz Lubelski will showcase the second 5 best short films from the French New Wave. We will also be presenting the best film school from the previous festival, Nederlandse Filmacademie, and the most exciting animated films from the last season: Little from the Fish Shop (Malá z rybárny) by Jan Balej, Little Houdini by Cédric Babouche and Giovanni’s Island (Giovanni no Shima) by Mizuho Nishikubo. Among the full feature animation films we will also be showing Journey To Melonia (Resan till Melonia) by the Swedish children’s animation classic, Per Ahlin. The screening will be accompanied by a set of Swedish animations compiled by Midhat Ayan Ajanovic to mark the 100th anniversary of this art in Sweden.
Other remarkable events in our programme include: Animation in the World showing films from Europe and South America: countries from the Visegrád Group, as well as from France, Brazil and Columbia, and 5 sets from Poland, Spain, Switzerland, Belgium and Romania all gathered under one banner – Europe in Short Film.
To supplement the off-competition programme, we would like to name two meetings devoted to the success of Baby Bump by Jakub Czekaj, our last year’s laureate, at the Venice International Film Festival; the screening of the Slovakia 2.0 (Slovensko 2.0) series; evening with the commercials of Swedish director Roy Andersson; as well as commercials and propaganda documentaries produced for the famous shoe company, Bata. This year’s music and film events involve the screening of the Spanish silent film Snow White (Blancanieves) by Pablo Berger with live Miss God music, and yet another cosmic and visual exploration brought to you by Andrzej Bronikowski with music by Paweł Kaczmarczyk.
Concluding this edition of the festival will be meetings with the originators and organizers of the International Philosophy Film Festival which has been organized in Krakow for 10 years running and a discussion on the migration issues currently facing Europe. This point will be preceded by the screening of a prophetic film made nearly a quarter century ago, winner of the 1992 Golden Dragon, Europe under Siege (Flugten til Europa) by Poul-Eric Heilbuth and Hans Bülow. To those of you more interested in practical aspects, we recommend the Animation Forum, put together by the Animation Department of the Association of Polish Filmmakers and the Organization Office of IFF Etiuda&Anima, and workshops tailored for children and professionals alike. When welcoming you on the opening of the 22nd International Film Festival Etiuda&Anima 2015, we would like to take this opportunity to express our utmost gratitude to all those who in any way have contributed to this year’s event.
Directors of the festival,
Katarzyna Surmacz Bogusław Zmudziński
Etiuda&Anima in Cracow is one of the most important festivals of Polish new cinema. Energy, freshness, innovativeness, invention – six days of festival is going to be an explosion of talents from all around the world. We are going to see hundreds of movies – animations, documentaries and feature films, outlining new directions for cinema, like Kuba Czekaj’s Baby Bump, awarded at this year’s Film Festival in Venice.
The Festival is a great opportunity to meet both mature, experienced artists and debutants. We are going to see Signe Baumane, Kaspar Jancis, Cecilia Traslaviña González, Teresa Glad, Maciej Dygas and Mirosław Dembiński. With us in spirit there are going to be also Timothy and Stephen Quay and Christopher Nolan, author of the documentary about Brothers’ output. William Kantridge are going to be our special quest – he is going to receive prestigious ASIFA award on the first day of Etiuda&Anima Festival.
Despite the gloomy November weather outside, we are going to travel to hot places of our planet – we are going to visit animated Brazil (Between Frames. The Art of Brazilian Animation) and Colombia (Colombian animations by professionals and by students), documentary Istanbul, Kolkata and Baku (serie World from Dawn till Dusk). We are going to glance at Spain, Belgium, Switzerland and Romania (Europe in Shorts) and Netherlands (Netherlandse Filmacademie etudes). We are also going to discover Sweden as we have never known it with Journey to Melonia, screenings of Swedish animation (Hundred years of Swedish animation) and Roy Andersson’s commercials. We are also going to drop by Japan (Giovanni’s Island) and by our neighbours from South (Little from the Fish Shop).
During the festival we are going to get some musical and visual experiences from Miss God (screening of Snow White with live music), collective SIBIGA, Andrzej Jacek Bronikowski and pianist Paweł Kaczmarczyk (Galactic Meander).
Etiuda&Anima makes also a great opportunity to participate very useful and interesting workshops: professional 3D animation workshops arranged in cooperation with Autodesk, CadSoft and Platige Image; Baby Bump or how to make a film in a year – case study with Kuba Czekaj’s movie producers; Hee Hee Hatty workshops for children.
Find a detailed programme of E&A 2015: http://etiudaandanima.com/program/
Who among us does not like magic tricks. Bring your little ones and come to Malopolski Ogród Sztuk for an animated illusion show - Cédric Babouche's Houdini.
Little Houdini is the story of one of the most famous illusionists in history, Harry Houdini (1874-1926). Houdini (born Erik Weisz) was the son of a Jewish rabbi who emigrated with his family from Hungary to the USA. In his new homeland, the young Erik, now called “Harry” by his friends, embarked on the career of an illusionist. Initially he focused on traditional card tricks, but soon he became famous as a spectacular escape artist: he freed himself from handcuffs, chains, ropes, straitjackets, tightly locked boxes.
The film tells the story of the childhood of the “Handcuff King”. The 12-year old Harry, who is already fascinated with magic, lives with his parents in the town of Appleton where he perfects his tricks. One day he sings up for a big competition organized by the mayor of New York to inaugurate the Statue of Liberty. There he meets the great “mage”, Tesla…
Little Houdini takes us on a fascinating journey through the world at the end of the 19th century, where illusion blends with intellect, and science with magic. With a steampunk touch, Babouche presents the fate of an artist who became the supreme role-model for magicians, gained countless followers and manages to inspire illusionists to date. Apart from Houdini, Babouche’s movie also features another eminent person from that time, Nikola Tesla, a brilliant inventor known for his creative approach to electricity.
Cédric Babouche is among the most talented young animators in Europe. His 12-minute short, Imago, which merges watercolors with 2D and 3D animations, was met with enthusiastic reception and was screened on over 110 film festivals, winning two awards on the Cannes Film Festival. Since 2007, he has been the artistic director of DANDELOOO, where he is responsible for film projects, among others, Little Houdini.
Little Houdini (reż. Cédric Babouche, France 2014, 52’)
Malopolska Garden of Arts (large screening room) 26th November (Thursday), 10 a.m.
Have you ever walked out of the cinema with the feeling that the film was about nothing? Probably more than once. In this year's edition of the ANIMA there is no such danger. These videos are about everything!
This year's edition of the international competition of professional and student short animated films host 69 titles from 24 countries. That's about as much time as we spend to watch six feature films. Indeed, life is too short to fill it watching full length films.
The formula of the competition, that compares recognized films along with academic productions of young artists, is a great opportunity for reflection. What are the points of contact for works of the old and the young? Which elements from the canon of world animation are being used by young animators and which have been discarded? Will the latest achievements of the Great and Recognized withstand a collision with the young artists' energy? Will the champions continue to delight us and avoid making the monumental bronze pose on their pedestals? All this you will be able to observe during the ANIMA competition projections.
Next to the young, their latest productions will present recognized animators such as Georges Schwizgebel (Erlkönig), Andreas Hykade (Nuggets) Konstantin Bronzit (We can not live without cosmos) Riho Unt (The Master) and Priit and Olga Pärn (Pilots on the Way Home), or the already awarded in the competition ANIMA Claudius Gentinetta (Islander's Rest), Theodore Ushev (Sonambulo), Don Hertzfeld (World of Tomorrow) and Daniel Šuljić (Transparency).
As always, we will see a full spectrum of various animation techniques: from the classic animation, through cut-outs, videos, dolls, clay, rotoscoping pixels, computer animations, 2D and 3D, to abstract impressionistic paintings and even film painted on subsequent pages of old books spread side by side.
The international competition event will sooner or later raise questions about the condition of local film productions against foreign competition, the "ANIMA 2015 and the Polish question". All the voices that have announced a few years ago the rebirth of the Polish animation are still present. The competition has a list of ten domestic productions. Alongside interesting offers from Polish film and art school students, we will see the already recognized in many festivals Wojciech Sobczyk's Summer 2014 and Blue Room of Thomas Siwiński, the music video for Renata Przemyk's song (Sculpture of Monika Kuczyniecka), as well as the Andersen' fairy tale This is a message told by Jerzy Sthur and illustrated with oil paintings by Joanna Jasinska-Koronkiewicz.
And what about foreign productions? I think everyone dreams about the great migration, because someone constantly goes on a journey: one cannot stay on the same place (We can not live without Cosmos Bronzit), other is sad in space (Missing one player Lei Lei), some are making fun ships in a bottle (Islander's Rest Gentinetta), and others attach them to whales (Levitation Marko Mestrovic). Can you make friends with a mosquito at sea? (Sailor's Yarn Julia Munz and Claudia Wirth). Trains are hard to trust (Fongopolis Joanna Sheepskin, Soot David Doutel and Vasco), so you can try riding on a bike – you may justmanage to get one pipe (Velodrool Sander Joon), although you can also get yourself in trouble (Super 8 Rim Sharafutdinov). Aircrafts fail (Pilots on the Way Home Priit and Olga Pärn, Go to city Ele Li Wenyu), so maybe you could finally start up the engine? (Roadtrip Xaver Xylophon). You can also try to fly into the sky on your own, just remember not to lose power (Golden Shot Gökalp Gönen), though it may be still better than an uncontrolled atom (Lucens Marcel Barell).
This crazy journey doesn't lack original creatures or ideas (The Story of Precival Pilts by Janette Goodey & John Lewis) as for example the Estonian inventiveness of riding on keyboard instruments (Piano Kaspar Jancis). And if you are not interested in travelling in space, you can also travel in time (the World of Tomorrow Hertzfeld).
Is that all? Of course not. A lot of fascinating stories are still waiting, and besides them there are some films that do not pay attention that much to the plot, but captivate your attention with visual arts, movement and music. We will be honoured with the presence of the great composers: Schubert, Liszt (Erlkonig Schwizgebel), Tchaikovsky, Vivaldi, Bach, Beethoven, Granados (Life with Herman H. Roth Chintis Lundgren) and Richard Strauss (World of Tomorrow Hertzfeld).
From Tuesday to Friday, the last fight for the winged Jabberwocki award and 2,500 euros - do not miss this rivalry!
I COMPETITION SCREENING ANIMA: 24th (Tuesday), 5 p.m. MOS (large room)
II COMPETITION SCREENING ANIMA: 24th (Tuesday), 9 p.m. MOS (large room)
III COMPETITION SCREENING ANIMA: 25th (Wednesday), 5 p.m. MOS (large room)
IV COMPETITION SCREENING ANIMA: 25th (Wednesday), 9 p.m. MOS (large room)
V COMPETITION SCREENING ANIMA: 26th (Thursday), 5 p.m. MOS (large room)
VI COMPETITION SCREENING ANIMA: 27th (Friday), 5 p.m. MOS (large room)
Everyone knows The Little Mermaid by Hans Christian Andersen, a tale of the big, but tragic love of a mermaid to a human. Jan Balej relocates this story to the realities of a gloomy seaport. The fish king and his family are forced to leave the depths of the sea and take residence in a fish shop. The king’s youngest daughter, Little, falls in love with a human.
The animation in Balej’s feature is nothing short of charming. It is one of the first feature films originating from the Czech Republic to blend stop motion with CGI. Balej creates a grotesque, bizarre world where the sensitive Little experiences her first, tragic love. The ambience of the film is underscored by the atmospheric music by a French composer, Chapelier Fou. The creator of the film, Jan Balaj, is not unfamiliar to the attendees of Etiuda&Anima. He specializes in puppet animation, following in the footsteps of the old Czech masters of this form of animation. He is a graduate of the Academy of Arts, Architecture and Design (UMPRUM) in Prague, and an author of children’s animations (Tom Thumb – 1994, Doings of the Hippopotamus Family – 2000, Karlík, the Little Golden Fish – 2010; and adult animations (Fimfárum 2 - 2006, One Night in a City/Jedné noci v jednom městě – 2007). His work is characterized by an original style that relies heavily on hyperbole and grotesque.
Little from the Fish Shop (dir. Jan Balej, Czech/Slovakia/Germany 2015, 72’)
Małopolska Garden of Arts (Large Screening Room) 26th November (Thursday), 9 p.m.
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