“When he shot Une seconde (4 min., 20 sec.), a video animation without computer graphics, Richard Angers tried to adapt Norman McLaren’s animation techniques to video shooting and editing. A long-term solitary task, in which images are moved by hand, centimetre by centimetre, in which one plays with the number of images per second, and in which the ± pure quest for effects is more important than the message”. BLANCHARD, Louise. “Les vidéastes sont au ‘rendez-vous’”, Le Journal de Montréal, Montreal (9 February 1992), p. 38.
“When he shot Une seconde (4 min., 20 sec.), a video animation without computer graphics, Richard Angers tried to adapt Norman McLaren’s animation techniques to video shooting and editing. A long-term solitary task, in which images are moved by hand, centimetre by centimetre, in which one plays with the number of images per second, and in which the ± pure quest for effects is more important than the message”. BLANCHARD, Louise. “Les vidéastes sont au ‘rendez-vous’”, Le Journal de Montréal, Montreal (9 February 1992), p. 38.
1991-09-10
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As the gap between a burning airplane and the ground gets smaller, one passenger has other things on his mind!
A whirlwind of improvisation combines the images of animator Pierre Hébert with the avant-garde sound of techno whiz Bob Ostertag in this singular multimedia experience, a hybrid of live animation and performance art.
The annual ghost convention introduces swing music to their tired out old scares.
The Trolls, Princesses, Glooms, and Engineers must join forces to defeat Silence.
A duty-bound rooster fights ancient stone monsters to defend his witless hens.
A children's fable about the power of advertising, the meaning of life and ultimately the test of a mother's love. Preserved by the Academy Film Archive in 2016.
The magical tale of a mouse who sets foot on a woodland adventure in search of a nut. Encountering predators who all wish to eat him - Fox, Owl and Snake - the brave mouse creates a terrifying, imaginary monster to frighten them away. But what will the mouse do when he meets this frightful monster for real?
A showcase of Paper Rad's individual and group creations in the form of Trash Talking, a show for kids with bizarre characters trying to find their place in the world.
A man's repeated attempts to retrieve an apple off a high tree branch all prove fruitless. What does he want the apple for? That would be telling.
Once up on a time, there was an ugly and violent monster. Because he was ugly, everybody disliked him. One day, the monster came to the small town to get some food and found a small girl. The monster tried to eat her, but something happened to him and changed him.
Cartoon short about Quark the troll, this time as a dragonslayer by chance.
Tells the beginning of the story of Quark: His birth and how he is thrown out by his parents due to his malicious behaviour.
In Prague, a professorial puppet, with metal pincers for hands and an open book for a hat, takes a boy as a pupil. First, the professor empties fluff and toys from the child's head, leaving him without the top of his head for most of the film. The professor then teaches the lad about illusions and perspectives, the pursuit of an object through exploring a bank of drawers, divining an object, and the migration of forms. The child then brings out a box with a tarantula in it: the professor puts his "hands" into the box and describes what he feels. The boy receives a final lesson about animation and film making; then the professor gives him a brain and his own open-book hat.
Stop-motion animated short film in which a puppet on a trike captures a puppet bird-man.
A puppet, newly released from his strings, explores the sinister room in which he finds himself.
Filmed like the travel journey of a Western traveler in search of Madagascar's customs. The pages turn, the drawings come to life, and the luxuriant landscapes of Madagascar appear one after another.
A woman sits alone on a chair at a table in a room on one of the top floors of an asylum. Bright spot lights dot the night, sometimes shining on her window. She sharpens pencils and writes on a page in a copy book. The pencil point often breaks under her fingers' force. She places broken points outside the window on the sill. A satanic figure is somewhere nearby, animated but of straw or clay, not flesh. She finishes her writing, tears the paper from the pad, folds it, places it in an envelope, and slips it through a slot. Is she writing to her husband? "Sweetheart, come."