ANIMANIMA 2014
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Kratki metar
MCLAREN, THE DELIRIOUS DREAMER Celebrating 100th anniversary of the birth of the animation master Norman McLaren Friday / 14.11.2014 / Grand Hall / 19:00 01
NORMAN MCLAREN’S OPENING SPEECH Original Title: Discours de bienvenue de Norman McLaren Norman McLaren Canada / 1961 / 6:53
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STARS & STRIPES Original Title: Étoiles et bandes Norman McLaren Canada / 1941 / 2:00
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HEN HOP Norman McLaren Canada / 1949 / 4:00
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BEGONE DULL CARE Original Title: Caprice en couleurs Norman McLaren Canada / 1949 / 7:47
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CHAIRY TALES Original Title: l était une chaise Claude Jutra, Norman McLaren Canada / 1957 / 9:54
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LINES HORIZONTAL Original Title: Lignes horizontales Evelyn Lambart, Norman McLaren Canada / 1962 / 5:55
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BLINKITY BLANK Norman McLaren Canada / 1955 / 5:15
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BLACKBIRD Original Title: Le merle Norman McLaren Canada / 1958 / 4:06
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NEIGHBOURS Original Title: Voisins Norman McLaren Canada / 1952 / 8:06
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SYNCHROMY Original Title: Synchromie Norman McLaren Canada / 1971 / 7:26
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PAS DE DEUX Norman McLaren Canada / 1968 / 13:21
The changes in the film animation that took place during 1940s in North America would eventually contribute to an overall different critical view and perception of animated film. A fervent opponent of the sweetened products dictated by the Disney Studio, Tex Avery will turn the fable upside down, allowing his anarchic characters to delve into astounding pranks, while at the same time bringing the elements of the film form into new relations. Far away from the bustle of the main scene, undisturbed under the wing of the Canadian National Film Board (NFB), the quiet revolutionary Norman McLaren kept turning his visions into reality in a gradual process that would turn out to be, as Ranko Munitić once observed, a series of fundamental innovations, master-pieces of animation expressiveness. As an artist of Scottish descent (born in Stirling in 1914), McLaren lived in Canada for most of his life and all of his professional success was inseparably linked with the Canadian National Film Board (NFB). Before moving to Ottawa in 1941, he had spent some time working in London and New York. In the promotional film Love on the Wing (1938), which he had made in the UK capital, he pioneered a cameraless technique of direct drawing onto the film tape. In the film that he made in America in the following year, Dots and Loops, abstract visual expression was supported by an abstract soundtrack, made using mechanical modifications of sound recordings. McLaren’s work in Canada is laborious and intense, driven by the need to encourage the citizens to buy the government bonds, to make them aware of the dangers of inflation and the advantages of saving; at the same time, these propaganda films were also significant experiments beyond the current standard frameworks of the medium. In 1943, McLaren was entrusted with the task of setting up and organising a special NFB animation department, where he soon gathered some important artists such as George Dunning, René Jodoin, Jim McKay, Grant Munro and Jean-Paul Ladouceur,
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