Not Signed-In
Which clippings match 'National Film Board Of Canada' keyword pg.1 of 1
22 JULY 2015

Pinscreen animation Mindscape by Jacques Drouin

"A particularly creative example of the pinscreen animation technique, this film is about an artist who steps inside his painting and wanders about in a landscape peopled with symbols that trigger unexpected associations. Film without words."

"Mindscape" by Jacques Drouin, 1976, 7mins 31s.

1
2

TAGS

1976animated short filmanimation techniqueblack and whiteboundary-crossing • crossing over • dreamlike storytelling • grey • in the mind • Jacques Drouin • landscape painting • Le paysagiste (1976) • meta-painting • Mindscape (1976) • movable pins • National Film Board of Canadapaint our own surroundingspainted world • picture within a picture • pinscreen animation technique • reality and illusion • shades of grey • stepping out of the framesurrealistic • surrealistic imagery • symbolic meaning • textural effects • without dialogue • wordless

CONTRIBUTOR

Simon Perkins
09 NOVEMBER 2014

Examples of web based non-linear narratives

Bear 71 (2012); Clouds over Cuba (2012); Donnie Darko (film website); Gravity (2003) by Olia Lialina; Here at Home (webdoc); My Boyfriend Came Back from the War (1996) by Olia Lialina; Neon Bible (2007) by Arcade Fire; Prison Valley (2013); Random Paths (2001) by Jody Zellen; Telescopic Text (interactive); The (Former) General in his Labyrinth (2007); The 21 Steps (2008) by Charles Cumming; The Wilderness Downtown (2011) by Arcade Fire; Waterlife (2009); We Choose the Moon (2009); Welcome to Pine Point (2011).

TAGS

Aaron Koblinalternate reality gameArcade Fire • Arcade Fire (band) • archive footage • B-Reel (digital production company) • Banff National Park • Bear 71 (2012) • Charles Cumming • Chris Milk • Clouds over Cuba (2012) • Cuban Missile Crisis • David Dufresne • digital storytelling • Donnie Darko (film website) • Google Maps • Gravity (2003) • grizzly bear • Here at Home (webdoc) • hypermediainteractive digital narrativesinteractive documentaryinteractive experienceinteractive mediainteractive multimedia documentaryinteractive multimedia video • interactive online story • interactive storytellinginteractive web documentary • Jeremy Mendes • Jody Zellen • Joe Davis • Kevin McMahon • Leanne Allison • Michael Simons • Mohsin Hamid • My Boyfriend Came Back from the War (1996) • narrative nonfictionNational Film Board of Canada • Neon Bible (2007) • new mediaNFB • non-linear narrative • Olia Lialina • Paul Shoebridge • Philippe Brault • Prison Valley (2013) • Random Paths (2001) • Telescopic Text (interactive) • The (Former) General in his Labyrinth (2007) • The 21 Steps (2008) • The Wilderness Downtown (2011) • Tool of North America • travelogue • Waterlife (2009) • We Choose the Moon (2009) • We Tell Stories • web based non-linear narrativesweb documentarywebdoc • Welcome to Pine Point (2011)

CONTRIBUTOR

Simon Perkins
17 FEBRUARY 2014

Norman McLaren's SYNCHROMY (1971)

"Here are pyrotechnics of the keyboard, but with only a camera to 'play the tune'. To make this film, Norman McLaren employed novel optical techniques to compose the piano rhythms of the sound track. These he then moved, in multicolor, onto the picture area of the screen so that, in effect, you see what you hear. It is synchronization of image and sound in the truest sense of the word."

(National Film Board of Canada)

Fig.1 Director: Norman McLaren; Year: 1971; Time: 7 mins; Music: Norman McLaren.

1
2

TAGS

1971abstract animated filmabstract animation • audiovisual art • changing patterncolourcolour and music • coloured pattern • design formalismdirect filmelectronic musicexperimental music • image and sound • multicolour • musicalizes vision • National Film Board of CanadaNorman McLaren • novel optical techniques • optical composition • painted soundtrack • piano rhythms • picture area • pure abstractionsoundtracksymbiosissynaesthesia • Synchromy (1971) • synchronisationtangible sequencervisual abstractionvisual musicvisual pattern

CONTRIBUTOR

Simon Perkins
24 JANUARY 2011

Norman McLaren's Neighbours is a prototypical pixilation film

"Norman McLaren is [one of] the most influential animator in the history of the art of animation. Over many years of constant groundbreaking research and experimentation he has created a coherent and extraordinary body of work with a unique inventiveness. This is best exemplified by his most important film, the anti–war parable Neighbours."

(United Nations Educational, Scientific and Cultural Organization, 1995 – 2010)

Fig.1 Norman McLaren (1952). 'Neighbours', National Film Board of Canada.

1

TAGS

1952animationCanadachoreographyconflictethics • Grant Munro • hover • Jean Paul Ladouceur • metaphormoral talemotionmovementnarrativeNational Film Board of CanadaNeighboursNorman McLarenpixilationshort filmsocietystop framesuburbanvisual communicationvisual depiction

CONTRIBUTOR

Simon Perkins
09 NOVEMBER 2009

Expanding the narrow definitions of documentary animation

"The term 'animated documentary' can still upset a truth–seeking purist. But over the last few years our understanding of what a documentary is has expanded from the narrow direct cinema/cinema vérité definition of the 1970s and the 1980s. A more inclusive definition with room for both classic documentaries like the European city symphonies of the 1920s and the personal film essays of the 1990s and the 2000s is now gaining support.

There was a close connection between animation and documentary filmmaking in Europe in the 1920s (Walter Ruttman, Hans Richter, Dziga Vertov) and in the UK in the 1930s (John Grierson, Len Lye, Norman McLaren). This close connection continued at the National Film Board of Canada after World War II and through to this day. Even Hollywood's Academy of Motion Picture Arts and Sciences accepted the animated documentary as documentary proper by giving the Oscar to McLaren (Neighbours, 1952) and Saul Bass (Why Man Creates, 1968). The direct cinema/cinema vérité movements and the total dominance of TV documentaries closely based on journalism have dominated the documentary tradition since the 1960s. But postmodernist thinking combined with more individual/personal artistic filmmaking have brought the artistic elements of the European documentaries of the 1920s and 1930s back. And this scene has also opened up for the modern animated documentary.

At the NFB the filmmakers never stopped making animated documentaries, and a similar tradition has been kept alive in the Scandinavian countries of Denmark, Sweden and Norway. I believe a major reason for this is the social democratic political thinking that lies behind both the ideology of the NFB and the film politics in Scandinavia. The film industry deserves state funding because the films play a vital role in our democracy."

(Gunnar Strøm, March 2005, 'How Swede It Is ...and Danish and Norwegian: Scandinavian documentary animation', p.13, fpsmagazine.com)

Fig.1 Monika Forsberg & Susie Sparrow 2006, We Believe in Happy Endings

1

CONTRIBUTOR

Simon Perkins
Sign-In

Sign-In to Folksonomy

Can't access your account?

New to Folksonomy?

Sign-Up or learn more.