See/ Animate Projects presents/ 7 May 2011
General Information
Animate Projects presents Hands On
The Black Dog’s Progress
Stephen Irwin, 2008
3’14”
The sad story of the Black Dog is told with a series of hand-drawn flipbooks, ‘cycled’ – the basic building blocks of animation. The screen space grows denser as looped scenes accumulate and the narrative develops, until over fifty flipbook animations are assembled within a single shot, each representing a different scene, and continuing to play on a loop as the narrative develops.
Winner of British Animation Awards for Best Short Film and Best Soundtrack 2010.
[may not be suitable for young children]
smalltimeinc.com
Don’t Let It All Unravel
Sarah Cox, 2007
1’43”
To support the central concept of the film – that something so intricate and beautiful as the world and the life that it supports can be undone so quickly – I had to create something beautiful and intricate to undo. I commissioned every person I knew who could knit to help me — all women. My Mother, my Producer and her Mother, friends, and friends of friends, knitted patterns designed for the film by myself and Jo Greening. I then spent two weeks rather heartlessly destroying these beautiful things. It is a shame as people ask me for artwork from the film for exhibitions but I don’t have any; I unravelled it all.’
Commissioned for Live Earth.
worldofarthurcox.co.uk
Furniture Poetry
Paul Bush, 1999
5’15”
Tables, chairs, shoes, jugs, teapots – and almost anything and everything lying around the house – are pixilated – filmed frame-by-frame. So that inanimate objects are made animate, in response to Wittgenstein’s question: ‘What prevents me from supposing that this table either vanishes or alters its shape when no one is observing it and then when someone looks at it again it changes back?
paulbushfilms.com
The Eagleman Stag
Mikey Please, 2010
9’
A dark, cerebral comedy about a man’s obsession with his quickening perception of time and the extreme lengths he goes to in order to counter the effect. Each unfolding scene is a key moment in the life of Peter, another piece in the puzzle.
A tour-de-force of 3D stop-motion, made as a Royal College of Arts graduation film, and winner of the BAFTA for Best Short Animation.
mikeyplease.co.uk
Yours Truly
Osbert Parker, 2006
8’
‘Found’ images from magazines and movie clips are cut up, manipulated and reconstructed to create unexpected and gripping story strands that play out in miniature 3D sets – what begins as a passionate love story, ends in murder.
Winner of a British Animation Award for Best Short Film.
Damaged Goods
Barnaby Barford, 2008
9’24”
In this tragic love story played out by porcelain figurines on the back shelves of a bric-a-brac shop, a poor, down-at-heel boy falls for a beautiful girl with shattering consequences.
Barnaby Barford works primarily with ceramics to create unique narrative pieces, using both mass-market and antique found porcelain figurines, cutting up and exchanging elements or adding to them and repainting them, to create sculptures which are often sinister and sardonic but invariably humorous. Damaged Goods is his first film.
www.barnabybarford.co.uk/
Hooked
Vera Neubauer, 2002
9’30”
Latino life unravelled and re-knitted – animation on location. A woman journeys through Mexico, Guatemala, Peru and Bolivia meeting others who knit and crochet. They exchange experiences, as do their knitted characters.
Vera Neubauer is a key figure in British experimental film. She has made several ‘knitted’ animations. Hooked documents her journeys through Mexico, Guatemala, Peru and Bolivia, meeting others who knit and crochet. They exchange experiences, as do their knitted characters.
veraneubauer.com
Love is All
Oliver Harrison, 1999
3’15”
In a winter wonderland with Deanna Durbin and the queen of the snow. Through frosted rococo cartouches she sings about the virtues of true love. A fairytale for the future, this perfectly pitched monochrome affection will have you yearning with immaculate desire.
Shot entirely on film, some of the scenes are comprised of 20 or more exposures – the snow ‘bursts’ were created through a complex, hand made cutout/matte process.
oliverharrison.com
Sunset Strip
Kayla Parker, 1996
3’30”
A day-by-day ‘diary’ of a whole year’s sunsets – painted and collaged directly onto a continuous strip of 35mm film – using a variety of materials, including nail varnish, magnolia petals, hair and net stockings.
kaylaparker.co.uk
Engine Angelic
Katerina Athanasopoulou, 2010
2’45”
‘The film started by walking through the remains of old, disused gasworks, shooting with a handheld digital camera. I was there looking for inspiration, without a storyboard or shotlist, but observing and imagining how these particular machines could come to life.’
kineticat.co.uk