On A Desert Island With....Visionary Experimenters and Effects-Makers
A survey of animation and visual effects artists, asking, "What" ten animated films would you want to have with you if stranded on a desert island?
A survey of animation and visual effects artists, asking, "What" ten animated films would you want to have with you if stranded on a desert island?
William Moritz reviews the ninth Stuttgart Animation Festival which took place from April 3 through April 8, 1998 in Stuttgart, Germany.
Tania Nasielski describes the projects of Belgium's Atelier Graphoui, an animation studio that helps the silent be heard through pro-social projects in developing nations.
Tania Nasielski drit les activit de l'Atelier Graphoui, studio belge d'animation, qui rlise des projets sociaux-culturels dans des pays en voie de deloppement. Deux de ces projets sont present dans ce numo, l'un rlisen Afrique, l'autre en Bolivie.
A review of the 1998 Brussels Cartoon and Animated Film Festival, by Valie Hamon-Rivoallon. Available in French and English.
Heather Kenyon interviews Max Howard, President, Warner Bros. Feature Animation, on his thoughts about the creation of a state-of-the-art studio, its' second feature Quest for Camelot, and the future of the animated features business.
Once upon a time there was a world without video tape...Karl Cohen takes us back in time to the days when 16mm film reigned.
Melissa Chimovitz interviews Polish independent animators Jerzy Kucia and Piotr Dumala, with the help of oTTo Alder, at the Fantoche Film Festival.
Flatworld by Daniel Greaves. Tandem Films Entertainment. Shock by Zlatin Radev. Zlatin Radev Films.
An international jury comprised of Raoul Servais (Belgium), Natalia Orlova (Russia), Monique Renault (The Netherlands), and Natalia Chernyshova (Ukraine) awarded the following prizes and diplomas at KROK `97: Prizes Grand Prix: Daniel Greaves for Flat World (Great Britain) Special Jury Prize: Mikhail Aldashin The Nativity (Russia) Special Jury Prize: Nick Park for A Close Shave (Great Britain) Special Jury Prize:...
This month we are defining the collection at The National Film & Television Archive in the United Kingdom. Founded in 1936, the NFTVA has an expansive collection of British animation available for investigation.
Photo by Cintia Matte Ruschel. Animation World Network. SIGGRAPH `97 came to Los Angeles with such a hype and fervor that before anyone knew what was happening, everyone was involved. The event was the talk of the town as SIGGRAPH graciously welcomed, not only the usual crowd of academia, visual effects artists and students, but by week's end, everyone from the curious to those remotely involved with the entertainment or computing field. Our extensive coverage of this event includes several features: Avi Hoffer's The Films of SIGGRAPH `97: A Coming...
Wendy Jackson talks with the renowned Czech surrealist filmmaker upon the release of his new film and receipt of a lifetime achievement award.
Ann C. Phillipon talks with "quintessential independent American animator, George Griffin" about his life and art.
New York producer Michael Sporn's commitment to making films about human issues has lately led him to animated documentaries for which the children's market has been most receptive. Janet Benn reports.
Brussels logo by Johan DeMoor.The sixteenth edition of the Brussels Cartoon and Animated Film Festival, organized by Folioscope, was held from February 4-16, during the Mardi Gras school holiday.
Apart from a retrospective held at the Museum of Cinema, this year's event was limited to one movie theater (Passage 44). The organizers, essentially, had not been able to reach a satisfactory agreement with the Botanique (a publicly-subsidized cultural center) that had served as the venue for specialized programs for previous editions.
Festivalgoers nevertheless didn't suffer because of this,...
Maureen Furniss recounts her experiences as a member of the Ottawa 96 selection committee, providing some friendly advice from her and her fellow jurors.
Many time festival programmer and juror Otto Adler provides his viewpoint on the ins and outs of selecting and programming films.
Philippe Moins takes a look at one of the oldest and most respected animation schools in continental European.