OIAF 2011 Program Book

OTTAWA 10 FESTIVAL READER / LECTURE DU FESTIVAL

2011 SPONSORS / COMMANDITAIRES 2011 PRESENTING

Brand Guide

PARTNERS

SHOWCASE

MAJOR SUPPORTERS

CelAction2D animation software

PATRONS

jr

OFFICIAL SUPPLIERS

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DIFFUSART.BIZ Médias & Evénements Media & Events

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TABLE OF CONTENTS / TABLE DES MATIÈRES FESTIVAL SCHEDULE / HORAIRE DU FESTIVAL

4

LETTERS / COURIER

8

TAC

21

SPECICIAL PROGRAMMES / PROJECTIONS SPÉCIALES

29

ESSAYS

29

Decoding Narrative: The Animated World of Gil Alkabetz Décoder le récit : le monde animé de Gil Alkabetz By / Par Madi Piller & Patrick Jenkins

29

Aaron Augenblick: Last Exit To Brooklyn Aaron Augenblick s’anime à Brooklyn

34

Appetite for Animation: The Spaghetti Incident?

DE L’appétit pour l’animation : l’affaire Spaghetti?

41

DON’T STOP: ANIMATING HIP HOP N’ARRÊTEZ PAS D’ANIMER LE HIP-HOP

45

Ten reasons to love animation Dix raisons d’aimer le film d’animation

49

SURFACE TENSION: THE ANIMATION ART OF MATI Kütt SURFACE SOUS TENSION : L’ART DE L’ANIMATION DE MATI KÜTT

52

CARTOON FIGHT CLUB: The Most Violent Cartoons Ever Made!

LE CLUB DE BAGARRES ANIMÉES Les dessins animés les plus violents jamais créés!

56

SPECIAL PRESENTATIONS / PRÉSENTATIONS SPÉCIALES

60

OTHER EVENTS / AUTRES ÉVÉNEMENTS

69

JURY / JURÉS

73

FILMS IN COMPETITION / COMPÉTITIONS DU FILM

76

2011 SHOWCASES / VITRINES 2011

101

ACTIVITIES FOR TEENS / ACTIVITÉS POUR LES ADOS

112

KIDS’ STUFF / TRUCS POUR ENFANTS

117

FAMILY SCHEDULE / HORAIRES POUR LA FAMILLE

118

PROFESSIONAL DEVELOPMENT AND RECRUITING AT THE OIAF / DÉVELOPPEMENT PROFESSIONNEL ET RECRUTEMENT

121

PARTIES / FÊTES

122

FILM CONTACTS / CONTACTS DU FILM

124

FESTIVAL ORGANIZATION & STAFF / ORGANISATION DU FESTIVAL ET PERSONNEL

137

CITY MAP / CARTE DE LA VILLE

138

OIAF 2011 OFFICIAL COMPETITION PRIZES & AWARDS / PRIX DE COMPÉTITIONS OFFICIELLES ET TROPHÉES

140

By / Par Chris Robinson

By / Par Dominique Forget

By / Par Matt Rosen

By / Par David Verrall

By / Par Tom McSorley

By / Par Jerry Beck

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2011 FESTIVAL SCHEDULE / HORAIRE DU FESTIVAL WEDNESDAY, SEPTEMBER 21, 2011 TIME

NAME OF SCREENING

VENUE

8:30 am

TAC: Animation Business Conference (TAC Pass Only)

Chateau Laurier

9:00 am

Aniboutique and Chez Ani open

ByTowne Cinema

7:00 pm

Feature Competition #1: Chico and Rita - GALA

ByTowne Cinema

Mature

Short Competition 1 - GALA

ByTowne Cinema

Mature

Opening Ceremonies

ByTowne Cinema

Opening Night Party (passholders only)

Hard Rock Café

9:15 pm 11:00 pm

RATING

THURSDAY, SEPTEMBER 22, 2011 TIME

NAME OF SCREENING

VENUE

8:30 am

Television Animation Conference (TAC Pass Only)

Chateau Laurier

9:00 am

Meet the Filmmakers Breakfast (passholders only)

Arts Court Studio

Meet the Filmmakers (until 10:45am)

9:30 am

Animation Celebration (free event for elementary school students.

Pre-register 613.232.8769)

All ages

Arts Court Theatre

All ages

ByTowne Cinema

12+

Empire Rideau

12+

Animation Celebration (free event for elementary school students. Pre-register 613.232.8769)

National Gallery

All ages

TV for Kids Competition

Arts Court Theatre

All ages

Short Competition 4

1:00 pm

Canadian Showcase

Short Competition 5 International Showcase 2 Special Presentation: Supinfocom Animation School

3:00 pm

5:00 pm

7:00 pm

9:15 pm

11:00 pm

Arts Court Theatre National Gallery

Jerry Beck presents CARTOON FIGHT CLUB

11:00 am

RATING

ByTowne Cinema Empire Rideau National Gallery

Mature 12+ Mature

TAC Canadian TV Showcase

Arts Court Theatre

9+

Short Competition 3

ByTowne Cinema

Mature

Feature Competition #4: Dead But Not Buried

Empire Rideau

Mature

Appetite for Animation

National Gallery

12+

La Moustache / EN MASSE Mural Kick-off

Arts Court Studio

Feature Competition #2: Taevalaul (Sky Song) - GALA

ByTowne Cinema

Masterclass: Amanda Forbis and Wendy Tilby

Arts Court Theatre

12+

Last Exit to Brooklyn: Aaron Augenblick

Empire Rideau

Mature

Decoding Narrative: Gil Alkabetz

National Gallery

9+

Jerry Beck presents: CARTOON FIGHT CLUB

Arts Court Theatre

All ages

Don't Stop: Animating Hip-Hop

Empire Rideau

Mature

Student Showcase

National Gallery

Mature

Short Competition 2 - GALA

ByTowne Cinema

12+

Student Party with films from Algonquin College, Vancouver Film School (VFS) and Mel Hoppenheim School of Cinema (Concordia University) A History of Animation presented by Jeff Twiller and Randy J. Johnson

Mature

Club SAW Arts Court Theatre

OIAF 2011 FESTIVAL READER / FIAO 2011 LECTEUR DU FESTIVAL

Mature

4

2011 FESTIVAL SCHEDULE / HORAIRE DU FESTIVAL FRIDAY, SEPTEMBER 23, 2011 TIME

NAME OF SCREENING

VENUE

9:00 am

Meet the Filmmakers Breakfast (passholders only)

Arts Court Studio

Meet the Filmmakers (until 10:45am)

9:30 am

Toon Apprentice Day for Teens (until 3pm)

National Gallery National Gallery

10:00 am

Short Competition 4

ByTowne Cinema

10:30am

Book signing: Jerry Beck

Arts Court Studio

11:00 am

Toon Apprentice Day for Teens (Pre-register 613.232.8769) Free School Presentation: Algonquin College

National Gallery

11:30 am

Toon Apprentice Day for Teens (Pre-register 613.232-8769) Free School Presentation: Mel Hoppenheim School of Cinema Animators' Picnic (passholders only) (until 4pm)

Arts Court Theatre

12+

12+

National Gallery Strathcona Park

12:30pm

Toon Apprentice Day for Teens (Pre-register 613.232.8769) Free School Presentation: Vancouver FIlm School (VFS)

National Gallery

1:00 pm

Toon Apprentice Day for Teens (Pre-register 613.232.8769 ) Free School Presentation: Behind the Scenes at the LAIKA Studio

National Gallery

Short Competition 5

National Gallery

Mature

Canadian Showcase

Arts Court Theatre

12+

5:00 pm

Decoding Narrative: Gil Alkabetz

National Gallery

12+

6:15 pm

Feature Competition #3: Colorful - GALA

ByTowne Cinema

12+

Last Exit to Brooklyn: Aaron Augenblick

Arts Court Theatre

Mature

The Bug Trainer

Museum of Civ.

12+

Don't Stop: Animating Hip-Hop

Empire Rideau

Mature

Ten Reasons to Love Animation

National Gallery

12+

Short Competition 3 - GALA

ByTowne Cinema

Mature

John Canemaker presents Two Guys Named Joe

Museum of Civ.

12+

3:00 pm

7:00 pm

9:15 pm

5

Arts Court Theatre

Free Screening for Teens - International Showcase 2 (Pre-register 613.232.t8769)

Masterclass: Koji Yamamura

RATING

International Showcase 1 (with Pixar’s La Luna)

Empire Rideau

12+

Appetite for Animation

National Gallery

12+

9:45 pm

Short Competition 3

Arts Court Theatre

Mature

11:00pm

Salon des refusés (passholders only)

Club Saw

Mature

11:30pm

Teletoon At Night Pilot Project

Arts Court Theatre

Mature

2011 FESTIVAL SCHEDULE / HORAIRE DU FESTIVAL SATURDAY, SEPTEMBER 24, 2011 TIME

9:00 am

9:30 am

NAME OF SCREENING

VENUE

Meet the Filmmakers Breakfast (passholders only)

Arts Court Studio

Professional Development Day (until 5pm)

National Gallery

Animarket Trade Show

National Gallery

Professional Development: Gimme a Job

National Gallery

Meet the Filmmakers (until 10:45am)

Arts Court Theatre

TV for Kids Competition - GALA

Museum of Civ.

RATING

All ages

NFB Free Workshop for Teens (Pre-register 613.232.8769)

National Gallery Studio

Book Signing: John Canemaker

Arts Court Studio

Masterclass: Gil Alkabetz

Arts Court Theatre

12+

International Showcase 2

ByTowne Cinema

12+

Short Film for Kids Competition - GALA

Museum of Civ.

All ages

Short Competition 2

Empire Rideau

12+

Professional Development: Surviving as a Short Filmmaker

National Gallery

Student Showcase

Arts Court Theatre

Short Competition 3

ByTowne Cinema

Feature Competition #3: Colorful

Museum of Civ.

Feature Competition #2: Taevalaul (Sky Song)

Empire Rideau

Professional Development: Web Portfolios

National Gallery

Professional Development: Toon Boom Harmony 9 (in Lecture Hall)

National Gallery

International Showcase 1

Arts Court Theatre

12+

Short Competition 4 - GALA

ByTowne Cinema

12+

Jerry Beck presents CARTOON FIGHT CLUB

Empire Rideau

All ages

Professional Development: Directing Animation

National Gallery

Special Presentation: The Marvelous Adventures of Pen and Thurop

Museum of Civ.

12+

Ten Reasons to Love Animation

ByTowne Cinema

12+

Appetite for Animation

National Gallery

12+

Student Showcase

Arts Court Theatre

Mature

Feature Competition #4: Dead But Not Buried - GALA

ByTowne Cinema

Mature

Late Night Special: Adult Animation Creatives Talk

Museum of Civ.

Mature

Short Competition 1

Empire Rideau

Mature

Surface Tension: The Animation Art of Mati Kütt

National Gallery

Mature

Short Competition 5 - GALA

ByTowne Cinema

Mature

Special Presentation: Cartoons and Comic Books in Hip Hop Culture

Museum of Civ.

Mature

Feature Competition #3: Colorful

Empire Rideau

12+

Special Presentation: Supinfocom Animation School

National Gallery

Mature

9:45 pm

Short Competition 5

Arts Court Theatre

Mature

11:00pm

Saturday Night Party (passholders only)

Ritual Nightclub

11:30pm

Jerry Beck presents CARTOON FIGHT CLUB

Arts Court Theatre

10:30am

11:00 am

1:00 pm

3:00 pm

4:00 pm 5:00 pm

7:00 pm

9:15 pm

OIAF 2011 FESTIVAL READER / FIAO 2011 LECTEUR DU FESTIVAL

Mature Mature 12+ Mature

All ages

6

2011 FESTIVAL SCHEDULE / HORAIRE DU FESTIVAL SUNDAY, SEPTEMBER 25, 2011 TIME

NAME OF SCREENING

VENUE

9:00 am

Meet the Filmmakers Breakfast (passholders only)

Arts Court Studio

9:30 am

11:00 am

Meet the Filmmakers (until 10:45am) (Competition 4 & Shorts for Kids)

Arts Court Theatre

NFB Free Workshop for Families (Pre-register 613.232.8769)

National Gallery Studio

Short Competition 1

ByTowne Cinema

Mature

The Making of Pixar's La Luna

Museum of Civ.

9+

International Showcase 1

Empire Rideau

12+

Surface Tension: The Animation Art of Mati Kütt

National Gallery

Mature

Meet the Filmmakers (Competition 5 and TV for Kids)

Arts Court Theatre

Don't Stop: Animating Hip Hop

Arts Court Theatre

Mature

ByTowne Cinema

12+

Museum of Civ.

All ages

Empire Rideau

Mature

National Gallery

9+

Canadian Showcase

1:00 pm

RATING

The Story Behind Winnie the Pooh and the Ballad of Nessie School Showreel: Rhode Island School of Design and Tokyo University of the Arts Decoding Narrative: Gil Alkabetz NFB Free Workshop for Families (Pre-register 613.232.8769)

National Gallery Studio

Short Film for Kids Competition

Arts Court Theatre

All ages

Feature Competition #1: Chico and Rita

ByTowne Cinema

Mature

School Showreel: Bezelal Academy of Arts and Design

Empire Rideau

12+

Last Exit to Brooklyn: Aaron Augenblick

National Gallery

Mature

5:00 pm

Short Competition 2

ByTowne Cinema

12+

7:00 pm

Special Presentation: Closing Ceremonies

Museum of Civ.

Best of the Festival

ByTowne Cinema

Mature

Best of the Festival

Museum of Civ.

Mature

Closing Night Party (passholders only)

Arts Court Studio

1:30 pm

3:00 pm

8:00 pm 9:00 pm

DAVID VERRALL, 2011 HONOURARY PRESIDENT

David Verrall as Honourary President for the 2011 Ottawa International Animation Festival is particularly poignant in this year that David takes his retirement from a formidable career at the NFB; there are a number of serendipitous confluences that make Ottawa particularly fitting. David was born right here in the nation’s capital and David’s father, Robert, was a post-war hire by Norman McLaren during those halcyon days when NFB animation was centered in Ottawa. Robert Verrall went on to head the Animation Studio and then in 1972 to head English Production (and yes there must be something in the DNA).

David, after a brief but successful editing stint in the private sector in Montreal, joined the alreadyfabled NFB Animation Studio in 1977, “for two years, maybe three” tops, he thought. He will retire at the end of September after over 34 years (“9001 workdays”, he’s counted) — almost twenty years as a producer before becoming the studio’s executive producer in 1996.

Amongst his prodigious producing output, David’s keen artistic eye and technical savvy are evident in Narcissus/Narcisse, by Norman McLaren, Real Inside by John Weldon, and in favourites like Strings/Cordes by Wendy Tilby, and When the Day Breaks by Tilby and Amanda Forbis (both films were Oscar® nominees) and Eugene Federenko and Rose Newlove’s Village of Idiots. His delicate, humane touch manifests in popular classics like Log Driver’s Waltz (John Weldon), the Oscar® winner Bob’s Birthday (David Fine and Alison Snowden) and The Sweater (Sheldon Cohen).

As visionary executive producer, David opened up the studio to more innovative and bold choices, with Oscar®-winning films like Chris Landreth’s opus Ryan and The Danish Poet by Torill Kove, but equally to the NFB’s flagship emerging filmmaker programme,

“Hothouse” and early and inventive stereoscopic production like the SANDDE™ films June and Falling in Love Again by Munro Ferguson.

But a list is little more than an accounting, even when it’s as impressive and stellar as David’s.

What has enabled this vibrant output? Perhaps David’s overarching achievement has been the consistent fostering of a respectful but provocative community of creators who can share, debate and challenge freely and frankly, as collaborators.

This has forced everyone to come to the table prepared, encouraging critical rigour over mere performance and challenging us with his implicit faith that we aspire to become better filmmakers and more passionate artists. His concern for the nurturing of excitement and camaraderie among the artists and filmmakers who work in the Studio has been a gift and a legacy. David has led by example, not by dictate, gathering around him smart, opinionated, and capable people who have collectively created a studio that runs on almost equal parts of belief and ideas. The ratio of inventive open-mindedness and risk-taking to worldwide success is not accidental.

David Verrall has been our inestimable leader for the past decade and a half, and studio keystone for twice that. With his retirement, the NFB has lost a pillar of knowledge and expertise and we in the Animation Studio will be saying goodbye to not only the producer and executive producer who led us through some of our most astonishing accomplishments, but to a close friend, ally and confidant. To say David is irreplaceable is to display the utter paucity of the English language in expressing what he’s meant here.

But with joy and the utmost affection, we celebrate this newest milestone; Honourary President for the 2011 festival!

OIAF 2011 FESTIVAL READER / FIAO 2011 LECTEUR DU FESTIVAL

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I am pleased to extend my warmest greetings to everyone attending the 2011 Ottawa International Animation Festival (OIAF).

C’est avec plaisir que je salue chaleureusement tous ceux et celles qui assistent au Festival international d’animation d’Ottawa (FIAO) 2011.

Animated film has a distinguished history in Canada and has been crucial to the formation of our cinematic identity. Over the years, Canadian filmmakers have been recognized as innovators and admired for their artistic and technical achievements. Today, new technologies have opened up a world of possibilities for production, collaboration and distribution. The OIAF is ideally suited to exposing a wider audience to the leading edge of the art.

Le film d’animation a une histoire prestigieuse au Canada, et a joué un rôle fondamental dans la formation de notre identité filmique. Au fil des années, les cinéastes canadiens ont été reconnus pour leur talent novateur et admirés pour leurs réalisations artistiques et techniques. Aujourd’hui, de nouvelles technologies ouvrent un monde de possibilités à la production, la collaboration et la distribution. Le FIAO a tous les éléments requis pour faire découvrir la fine pointe du 7e art à un plus large public.

I would like to commend the Canadian Film Institute for bringing this inspiring event to the Nation’s Capital. With such a wealth of creativity on display, the festival is sure to be a resounding success.

On behalf of the Government of Canada, I offer my best wishes for a most enjoyable and engaging experience.

Je tiens à féliciter l’Institut canadien du film d’avoir amené cet événement exceptionnel dans la capitale nationale. Avec un tel déploiement de créativité, le festival ne manquera pas de connaître un succès retentissant.

Au nom du gouvernement du Canada, je vous souhaite une expérience des plus enrichissantes et agréables.

The Rt. Hon. Stephen Harper / Le très honorable Stephen Harper P.C., M.P.

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Our Government knows how important arts are in strengthening our communities and in building a prosperous economy in Canada. This is why we are proud to support major events like the Ottawa International Animation Festival. As autumn approaches, the National Capital Region transforms into a cultural showcase that allows artists from Canada and beyond to highlight their talents, and gives audiences the chance to discover the art of animation in all its diversity.

On behalf of Prime Minister Stephen Harper and the Government of Canada, I would like to commend the Canadian Film Institute on the essential role it has played since the inception of the Ottawa International Film Festival in 1975. I would also like to thank the animators, volunteers, and festival-goers who help make this cinematic celebration an undeniable success year after year.

Notre gouvernement sait à quel point les arts sont importants pour assurer l’essor de nos communautés et bâtir une économie prospère au Canada.

C’est pourquoi nous sommes fiers d’appuyer la tenue d’une manifestation d’envergure comme le Festival international d’animation d’Ottawa. À l’approche de l’automne, la région de la capitale nationale se transforme en vitrine culturelle pour permettre aux artistes d’ici et d’ailleurs de mettre leurs talents en valeur et au public de découvrir toute la richesse de l’art de l’animation.

Au nom du premier ministre Stephen Harper et du gouvernement du Canada, je tiens à souligner le rôle essentiel joué par l’Institut canadien du film depuis les débuts du Festival international d’animation d’Ottawa en 1975. J’aimerais également remercier les animateurs, les bénévoles et les festivaliers qui contribuent année après année au succès indéniable de ce rendez-vous cinématographique.

The Hon. James Moore / Le très honorable James Moore Minister of Canadian Heritage and Official Languages Ministre du Patrimoine canadien et des Langues officieles

OIAF 2011 FESTIVAL READER / FIAO 2011 LECTEUR DU FESTIVAL

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WWW.ANIMATIONFESTIVAL.CA

WWW.ANIMATIONFESTIVAL.CA

Dear industry colleagues and friends,

Chers collègues et amis de l’industrie,

Telefilm Canada is proud to be a part of the Ottawa International Animation Festival and to salute the extraordinary talent that this nation generates. It is events such as this one that strengthen the industry as a whole by drawing attention to Canadian productions, developing talent and promoting creative collaboration.

Téléfilm Canada est fière de participer au Festival international d’animation d’Ottawa et de saluer le talent extraordinaire des créateurs de notre pays. Ce sont des événements comme celui-ci qui renforcent l’industrie dans son ensemble en attirant l’attention sur les productions canadiennes, en encourageant l’éclosion des talents et en promouvant une collaboration sous le signe de la créativité.

At Telefilm, our objective is to foster cultural success by supporting talent throughout Canada, and to encourage the production of content that appeals to audiences both at home and abroad.

Our cinema entertains, enlightens, informs and challenges; it cultivates dialogue about our identity and our values. It represents us on the international stage, shapes our sense of belonging and contributes to the diversity of our society.

Thank you to the organizers of the Ottawa International Animation Festival for bringing us together year after year to celebrate the breadth of talent in our communities. This event showcases artists on a regional, provincial, and national level, and gives audiences the opportunity to discover outstanding work and to enjoy the latest in home-grown cinema.

Enjoy the festival!

A Téléfilm, notre objectif est de valoriser la réussite culturelle en soutenant les créateurs d’un bout à l’autre du Canada, tout en facilitant la production d’un contenu qui plaira aux auditoires d’ici et de l’étranger.

Notre cinéma divertit, éclaire, informe et fait réfléchir.

Il cultive le dialogue au sujet de notre identité et de nos valeurs. Il nous représente sur la scène internationale, façonne notre sentiment d’appartenance et contribue à la diversité de notre société.

Merci aux organisateurs du Festival international d’animation d’Ottawa qui, encore une fois, nous permettent de nous rassembler afin de célébrer l’immense talent des communautés du cinéma de la côte est à la côte ouest. Cet événement met à l’avant-scène des artistes actifs sur les plans régional, national et international, et donne aux auditoires la chance de découvrir leur travail exceptionnel et les dernières nouveautés du cinéma de chez nous.

Bon festival !

Carolle Brabant Executive Director, Telefilm Canada Directrice générale, Téléfilm Canada

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As the Ottawa International Animation Festival celebrates its 35th edition this year, we at the National Film Board of Canada are proud to be partnering with the festival once again.

L’Office national du film du Canada est fier de s’associer une fois de plus au Festival international d’animation d’Ottawa, qui en est cette année à sa 35e édition.

I’d like to take this opportunity to salute the OIAF’s honorary chair, David Verrall, veteran Executive Producer of the NFB’s Oscar-winning English-language Animation Studio, and ask you to please join me in welcoming his successor, Roddy McManus, the Studio’s new Executive Producer. Roddy will work alongside René Chenier, Executive Producer of the French-language Animation Studio, to bring NFB animation to new audiences.

J’aimerais profiter de l’occasion pour saluer le président honoraire du Festival, David Verrall, producteur exécutif sortant du studio d’animation oscarisé du Programme anglais de l’ONF et souhaiter la bienvenue à son successeur, Roddy McManus. De concert avec René Chenier, producteur exécutif du studio d’animation de langue française, Roddy s’emploiera à faire rayonner les œuvres d’animation de l’ONF auprès de nouveaux auditoires.

The NFB, a leader in auteur animation for 70 years, is pleased to offer a variety of activities at the 2011 OIAF, including Animation Celebration, hands-on workshops for families, masterclasses and meet-thefilmmaker sessions. We’re also happy to be presenting the festival’s Public Prize once again.

Chef de file de l’animation d’auteur depuis 70 ans, l’ONF propose aux festivaliers une variété d’activités, notamment « Animation Celebration », des ateliers pratiques pour les familles, des ateliers de maître ainsi que des rencontres avec les cinéastes. Enfin, l’ONF est ravi de présenter une fois de plus le Prix du public.

After the festival, I invite you to check out some of the award-winning NFB productions available online, free of charge, at <NFB.ca> and on our acclaimed mobile apps.

Après le Festival, je vous invite à regarder quelquesunes de nos productions primées à <ONF.ca> ou sur votre appareil mobile grâce à nos réputées applications mobiles.

Tom Perlmutter Government Film Commissioner and Chairperson of the National Film Board of Canada Commissaire du gouvernement à la cinématographie et président de l'Office national du film du Canada

OIAF 2011 FESTIVAL READER / FIAO 2011 LECTEUR DU FESTIVAL

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WWW.ANIMATIONFESTIVAL.CA

Welcome to the 2011 edition of the Ottawa International Animation Festival.

Bienvenue à l'édition 2011 du Festival international d'animation d'Ottawa.

As the largest of the annual festivals organized by the Canadian Film Institute (CFI), the OIAF is, and will continue to be, one of the cornerstones of the Institute.

À titre de plus grand festival annuel organisé par l'Institut canadien du film, le FIAO est et continuera d'être une des pierres angulaires de l'Institut.

Founded in 1935 and now in its 76th year, the CFI continues to present the best of Canadian and international cinema as an alternative to our Hollywood-dominated screens. From its experimental film programming of Café Ex, to the European Union and Latin American, and Indian Film Festivals, to ongoing Canadian cinema series, the CFI presents hundreds of films, videos, and digital media art works to audiences in Ottawa, across Canada, and around the world.

It also publishes critical and educational works on Canadian and international film.

Since founding the OIAF in 1976, the CFI has developed the Festival into one of the world’s most important animation events, offering a bold mix of art and industry, and featuring not only daring, adventurous programming, but also attending to the vital commercial dimensions of international animation.

The staff of the 2011 edition of the Festival is to be congratulated for once again presenting a remarkably rich, diverse, and engaging array of screenings, retrospectives, workshops, and animation industry panel discussions.

And so, let’s begin. On behalf of the Board of Directors and staff of the Canadian Film Institute, I wish you an enriching, rewarding, and productive Ottawa 2011. Oh yes, and have fun!

Créé en 1935, l'ICF a été créé pour offrir des solutions de rechange aux films « hollywoodiens » typiques qui prédominaient (et prédominent toujours !) sur les écrans canadiens. Au cours de ses 76 ans d'existence, l'ICF s'en est tenu à sa mission, y compris en fondant le FIAO en 1976. Depuis les programmes de films expérimentaux au Café Ex jusqu'aux projections habituelles à Bibliothèque et Archives Canada, en passant par les festivals du film de l'Union européenne et de l'Amérique latine, et par ses programmes continus de cinéma canadien indépendant, l'ICF présente chaque année des centaines de films, de vidéos, et, en nombre croissant, d'œuvres réalisées pour des médias numériques, aux auditoires d'Ottawa, de partout au Canada, et dans le monde entier.

Si l'ICF compte aujourd'hui 76 ans d'existence, il n'en continue pas moins d'étendre ses programmes publics et son rayonnement éducatif en lançant une toute nouvelle série de publications et d'activités basées dans Internet. Pour nous de l'ICF et du FIAO, c'est une période palpitante, car nous travaillons à concevoir et à livrer davantage de programmes publics, de causeries avec des artistes, d'ateliers, de projections spéciales et de rétrospectives.

Encore une fois, bienvenue à Ottawa 2011 !Je vous prie d'agréer mes salutations les meilleures.

Sincerely / Cordialement, Tom McSorley Executive Director, The Canadian Film Institute Le Directeur général, Institut canadien du film

OIAF 2011 FESTIVAL READER / FIAO 2011 LECTEUR DU FESTIVAL

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Ontario Media Development Corporation (OMDC) is proud to sponsor the Television Animation Conference (TAC) at the 2011 Ottawa International Animation Film Festival (OIAF) again this year. OIAF is a must on the festival circuit for animators around the world to showcase their work. In support of our creative industries, TAC provides an important forum for Canadian and international animation producers, broadcasters, distributors and buyers to network, discuss industry issues and do business together.

As an agency of the Government of Ontario, OMDC plays a leading role in supporting the province’s creative economy by providing innovative programs, services and funding for the film and television; book and magazine publishing; interactive digital media and music industries. Ontario’s creative media companies have developed a thriving, multi-billion dollar industry with 300,000 jobs and a wealth of opportunity.

In Ontario “We’ve got it going ON!” Our creative media industries – animators, filmmakers, music labels and performers, content creators, app developers and festivals — are leading the world in innovative ideas and critical acclaim.

OMDC is pleased to continue to support this festival and applauds all of the organizers, volunteers and participants for making this conference a great success.

Cette année à nouveau, la Société de développement de l’industrie des médias de l’Ontario (SODIMO) est fière de parrainer la Television Animation Conference (TAC) lors du Festival international d’animation d’Ottawa (FIAO) 2011. Pour les animateurs du monde entier, le FIAO est un incontournable du circuit des festivals, où ils peuvent venir présenter leur travail. À l’appui des industries de la création, la TAC constitue un forum majeur pour les producteurs, diffuseurs, distributeurs et acheteurs d’animation canadiens et étrangers, leur permettant de faire du réseautage, de débattre des enjeux de l’industrie et de faire des affaires ensemble.

En tant qu’organisme du gouvernement de l’Ontario, la SODIMO joue un rôle prépondérant en matière de soutien de l’économie de la création de la province, en offrant des programmes, services et financements innovants aux industries du cinéma et de la télévision, de l’édition de livres et de revues, des produits multimédias interactifs numériques et de la musique.

Les sociétés du secteur ontarien des médias de la création ont bâti une industrie prospère de plusieurs milliards de dollars, forte de 300 000 emplois et d’une mine de possibilités.

En Ontario, « ON met la culture en marche! » Nos industries des médias de la création – animateurs, cinéastes, maisons de disques et artistes, créateurs de contenu, développeurs d’applications et festivals confondus – occupent le devant de la scène mondiale en termes d’idées novatrices et d’éloges de la critique.

La SODIMO est ravie de renouveler son soutien en faveur de ce festival, et félicite l’ensemble des organisateurs, bénévoles et participants, qui sont les artisans du vif succès que rencontre la conférence.Veuillez agréer l’expression de mes sentiments les meilleurs.

Sincerely / Cordialement,

Karen Thorne-Stone President & CEO Ontario Media Development Corporation (OMDC) Présidente-directrice générale Société de développement de l’industrie des médias de l’Ontario (SODIMO)

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On behalf of Members of Ottawa City Council, it gives me great pleasure to extend a very warm welcome to all those participating in the Ottawa International Animation Festival, taking place in the heart of our nation’s capital from September 21st to 25th 2011.

Au nom des membres du Conseil municipal d’Ottawa, c’est avec plaisir que je souhaite la plus cordiale bienvenue à tous les participants au Festival international d’animation d’Ottawa qui se tiendra au coeur de la capitale nationale du 21 au 25 septembre 2011.

As Head of Council, I want to lend my support to the collaborative efforts of the OIAF staff to increase awareness of animation and to assist artists to gain exposure through screenings, competitions, exhibits, workshops and the Television Animation Conference.

En ma qualité de chef du Conseil, je suis très heureux d’appuyer les projets de collaboration du personnel du FIAO qui contribuent à mieux faire connaître l’animation et à aider les artistes à obtenir une plus grande visibilité par l’entremise des projections, des compétitions, des expositions, des ateliers et du congrès d’animation télévisuelle.

Allow me to congratulate the OIAF 2011 organizers, sponsors, artists, guest speakers, volunteers and all those who have dedicated their time, energy, talents and resources to the successful organization of this important cultural event of international scope and the largest of its kind in North America.

As Mayor of the host city, I invite visitors to explore the numerous civic sites of historic significance, as well as the abundance of national treasures and heritage landmarks housed in Canada’s capital.

Please accept my best wishes for a very entertaining and most memorable festival.

Permettez-moi de féliciter les organisateurs du FIAO 2011, les commanditaires, les artistes, les conférenciers d’honneur, les bénévoles et tous ceux qui ont consacré leur temps, leur énergie, leurs compétences et leurs ressources à l’organisation réussie de cette importante manifestation culturelle d’envergure internationale et la plus grande de son genre en Amérique du Nord.

En tant que maire de la ville hôte, j’invite les visiteurs à découvrir les nombreux lieux municipaux d’importance historique ainsi que les trésors nationaux et les sites patrimoniaux abondants qu’abrite la capitale du Canada.

Je vous souhaite à tous un festival très mémorable et des plus divertissants.

Sincerely / Cordialement,

Jim Watson Mayor / Maire

OIAF 2011 FESTIVAL READER / FIAO 2011 LECTEUR DU FESTIVAL

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WEDNESDAY, SEPTEMBER 21 & THURSDAY, SEPTEMBER 22 MECREDI 21 SEPTEMBRE ET JEUDI 22 SEPTEMBRE FAIRMONT CHÂTEAU LAURIER

TAC

TAC

TAC is going into its 8th edition in 2011 with keynotes Michael Polis and Dino Stamatopoulos kicking off each day. In addition to overseeing global operations as President of W!LDBRAIN Entertainment, Polis leads DHX Media’s international licensing activities. He led and supervised unprecedented global marketing and licensing efforts on behalf of W!LDBRAIN’s entertainment assets, including the groundbreaking series Yo Gabba Gabba! Prior to his work at W!LDBRAIN Entertainment, Michael Polis received an Emmy nomination as an executive producer on Kermit’s Swamp Years while at the Jim Henson Company.

Dino Stamatopoulos is a television comedy writer, actor, and producer having worked on Mr. Show, TV Funhouse, Mad TV, Late Show with David Letterman, and Late Night with Conan O’Brien. He is the creator of the Adult Swim programs Moral Orel and Mary Shelley’s Frankenhole, going into its second season, and has a recurring role as “StarBurns” on the NBC comedy Community.

Le TAC 2011 entamera chaque journée de sa 8ème edition avec les intervenants Michael Polis et Dino Stamatopoulos qui donneront le coup d’envoi.

Non seulement à la tête des opérations en tant que président de W!LDBRAIN Entertainment, Polis dirige aussi le pôle juridique international de DHX Media. Il a mené une bataille juridique sans précédents pour les ventes internationales et la négociation des droits des oeuvres de W!LDBRAIN Entertainment, notamment de la série TV originale Yo Gabba Gabba! Avant de travailler chez W!LDBRAIN Entertainment, Michael Polis avait été nominé pour l’Emmy Award du meilleur producteur délégué pour Kermit’s Swamp Years de Jim Henson Company.

TAC 2011 HIGHLIGHTS Competition and Showcase screenings are a key way to catch up on new trends, new artists, and the best work from around the world. Now TAC delegates have a chance to see all these programs on site at the TAC Screening Den, just one of the new features of this year’s Conference. The event features many opportunities that cater to delegate needs, including panels, seminars and ample networking events.

Participants can pre-arrange one-on-one meetings with key buyers and executive producers at Fast Track, set up meetings in the now bigger TAC Delegate Lounge, take in intimate social events such as the TAC Happy Hour, Afternoon Breaks and this year’s new additions, the Delegate Luncheons and Closing Cocktail.

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Dino Stamatopoulos scénariste de comédie télévisée, acteur et producteur a travaillé sur M.Show, TV Funhouse, Mad TV, Late Show avec David Letterman, et Late Night avec Conan O’Brien. Il est le créateur de la chaîne Adult Swim qui programme Moral Orel et Mary Shelley’s Frankenhole, qui amorce sa deuxième saison. Il tient également le rôle de Star-Burns dans the NBC comedy Community.

TAC 2011 FAITS SAILLANTS / ELÉMENTS IMPORTANTS Les films en Compétition et en Vitrine projetés durant le Festival sont l’occasion de découvrir de nouvelles tendances, de nouveaux artistes, et la crème de l’animation à travers le monde. Désormais, les représentants du TAC ont la chance de voir tous ces programmes sur place, dans la petite salle de projection du TAC, une de nos nouveautés cette année. Cet évènement répond aux attentes des représentants de diverses manières, en proposant des tables rondes, séminaires et évènements en réseau.

Les participants à l’évènement peuvent organiser en avance des rendez-vous individuels avec les acheteurs et producteurs principaux lors du Fast Track, tenir des réunions dans le TAC Lounge, ou encore participer à de petites rencontres amicales comme le TAC Happy Hour, les Goûters de l’après midi et en plus cette année, les Dîners des délégués et le Cocktail de clôture.

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COMPANIES PARTICIPATING IN TAC 2011 INCLUDE / LES ENTREPRISES ET ORGANISATIONS QUI PRENDRONT PART À LA TAC 2011 COMPRENNENT NOTAMMENT: 9 Story Entertainment

MTV Cross Media

Amberwood Entertainment

National Film Board of Canada (NFB)

Animation Magazine

Nerd Corps Entertainment

Animation World Network

Nickelodeon

Augenblick Studios

Nova Scotia Film Development Corporation

BBC

OMDC

Breakthrough Entertainment

PBS

Canadian Broadcasting Corporation (CBC)

PIP Animation Services Inc.

Canal+

Pipeline Studios inc.

Cartoon Network & Adult Swim

Pixar Animation Studios

CelAction

Portfolio Entertainment Inc.

Canada Media Fund (CMF)

RAI SAT S.P.A.

Comet Entertainment Inc.

Rainmaker Entertainment

Cookie Jar Entertainment

Random House/Golden Books for Young Readers

Corus Entertainment

Technicolor Creative Services, Canada

DHX Media

Telefilm Canada

Disney TV Animation

TELETOON Canada Inc.

Entertainment One & eOne Family

Toon Boom Animation Inc.

Fresh TV Inc.

TVO

Guru Studio

W!LDBRAIN Entertainment

LAIKA

YLE TV2-Finnish Broadcasting Company

Marathon Images

YTV, Treehouse & Discovery Kids Canada

marblemedia

And many more… / Et encore plus...

Mercury Filmworks

OIAF 2011 FESTIVAL READER / FIAO 2011 LECTEUR DU FESTIVAL

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You demand animation.

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AWNtv.com – Keeping Your World Animated The animation revolution will be televised! Industry pundit interviews and complete VFX conference sessions. Exclusive VFX shot clips. Over 1,000 independent short animated films. Feature film trailers, featurettes, webisodes, music videos, commercials and more! With extensive categorizing and curated playlists - feed your need for entertainment and immerse yourself in a captivating world of today’s top animation and VFX. Glimpse the future of online animation today!

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Expert Blogs

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Taking Television Production Low Budget Production Development Professional Development UsefulTools Research Publications Promotion

to a Whole New Platform.

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Supporting Canadian Creativity We’re proud to support Canadian artists and arts organizations working in media arts.

Find out more about our grants, awards and prizes at:

canadacouncil.ca Steven Woloshen Stills from Playtime (2009) Honourable mention, Best Canadian Animation award, Ottawa International Animation Festival Images tirées de Playtime (2009), Mention honorable dans la catégorie Meilleur film d’animation canadien au Festival international d’animation d’Ottawa

Soutenir la créativité canadienne Nous sommes fiers de soutenir les artistes et les organismes artistiques des arts médiatiques. Pour en apprendre davantage sur nos subventions, prix et bourses, rendez-vous au :

www.conseildesarts.ca

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DECODING NARRATIVE: THE ANIMATED WORLD OF GIL ALKABETZ DÉCODER LE RÉCIT : LE MONDE ANIMÉ DE GIL ALKABETZ By / Par Madi Piller & Patrick Jenkins I first came across the work of Gil Alkabetz in 1998 when I saw the animation he did for the feature film Run Lola Run. I was intrigued by those animated sequences and decided to learn more about his work. Little by little, I discovered more about his movies, finally meeting him at an animation conference in Lucerne, Switzerland, where, in a presentation, he spoke eloquently about the myriad possibilities of the art of animation.

-Madi Piller

Born in the Kibbutz Mashabei Sade in Israel in 1957, Alkabetz drew as a child and was fascinated by animation. At fifteen, he and his brother made a simple Zoetrope with some animated walk cycles.

He went on to study Graphic Design at the Bezalel academy in Jerusalem, where he was exposed to films from the National Film Board of Canada and Zagreb Animation Studios, which encouraged him to try a more personal approach in his own animation. Upon graduating, he made his living mostly from illustration and teaching, as there was very little animation being done in Israel at the time.

His student film Bitzbutz (1984) was shown at the Stuttgart Animation Festival and attracted the attention of Professor Albrecht Ade, an animation instructor at the Art Academy, who offered Gil a grant to come and make another film in his class.

Throughout his career, Gil has alternated between Stuttgart and Israel, working as an animator, illustrator and teacher.

Gil Alkabetz is a fine art, 2D animator with a very 29

J’ai été introduite pour la première fois à l’oeuvre de Gil Alkabetz en 1998, lorsque j’ai découvert le travail d’animation qu’il avait réalisé pour le long métrage Run Lola Run. J’ai été intriguée par ces séquences animées et cherché alors à en apprendre davantage sur ses réalisations. Petit à petit, j’en suis venue à découvrir ses films, pour finalement le rencontrer en personne lors d’une conférence sur l’animation qui avait lieu à Luzerne, en Suisse. Il y livrait une présentation dans laquelle il nous faisait découvrir, avec beaucoup d’éloquence, les nombreuses possibilités qu’offre l’animation.

-Madi Piller

Né en 1957 dans le kibboutz Mashabei Sade en Israël, Alkabetz s’est mis au dessin dès son enfance, et manifeste dès lors une fascination pour l’animation. À l’âge de 15 ans, son frère et lui réalisent un petit film tout simple à l’aide de la technique Zoetrope, en créant des cycles de marche animés.

Plus tard, il poursuit des études en graphisme à l’Académie Bezalel à Jérusalem. Il y découvre divers films produits par l’Office national du film du Canada et Zagreb Animation Studios, ce qui a eu pour effet de l’encourager à avoir une approche plus personnelle dans la réalisation de ses propres films d’animation. Après avoir obtenu son diplôme, il gagne sa vie en produisant des illustrations et en se tournant vers l’enseignement, l’animation étant chose plutôt rare en Israël à l’époque. Son film étudiant réalisé en 1984 et intitulé Bitzbutz fut présenté dans le cadre du Stuttgart Animation Festival, où il a suscité l’intérêt du professeur Al-

WWW.ANIMATIONFESTIVAL.CA poetic approach to animation. A master of metaphor, his narratives are often told in an elliptical way, where the viewer is confronted with a series of narrative fragments or memories, that gradually reveal the story.

Each of his films has a distinct look, reflecting his graphic design background and illustration work.

Often he plays with the flatness of the screen image, in some cases abstracting characters to such an extreme that they are barely recognizable as figures.

Thoroughly storyboarded, his films stem from a number of sources: ideas stored in his mind, stories he has read, or ideas from past art school exercises. His work balances illustration, colour, and sound, with a touch of experimentation that makes each film a unique work of art and emotionally moving.

In his first film, Bitzbutz (1984), a plasticine stop motion animated film, we see many of the themes that he will explore throughout his career. A high contrast white box appears on the screen, inside a black frame. A white bird squeezes out of the white box and starts to peck a series of white dots in the black frame. Appearing in the center, a huge black monster eats away the black frame and consumes the bird. Then in a reversal of the predator/ prey relationship, the bird eats away the monster from inside, leaving a blank white screen. The high contrast, graphic look of this film explores the flatness of the screen, emphasizing the two dimensionality of the image.

In Swamp (1992) Alkabetz explores this quality even further, “giving up any camera angles other than the frontal one”* and eliminating even the image of the swamp to create a poignant meditation on the futility of war. Here, two armies of armoured knights on horseback face each other, armed with huge scissors instead of lances. As an added twist, each mounted knight is attached by strings to balloons (blue for one side, red for another) that keep them from sinking into the swamp below them. They attack and defeat each other by snipping the strings with their oversized scissors, severing the balloons, thus losing their buoyancy and drowning in the swamp. In a variation of the hunter/hunted theme previously explored in Bitzbutz, and after much slaughter, the two remaining knights kill each other, leaving no combatants - completely draining all heroism from war.

In his next film Yankale (1995) Alkabetz pushes simplifying, flattening and abstracting his characters and imagery until they become symbols or signs. Based on the short story Where Do We Go From Here? by Israeli writer Aharon Almog, this film tells the story of Yankale, a man who is uncharacteristically late for work one morning. Alkabetz tells Yankale’s story three times, each time adding more detail. He lives with his domineering

brecht Ade, qui enseignait l’animation à l’Art Academy. Celui-ci a offert une bourse à Gil afin qu’il puisse assister à son cours et y réaliser d’autres films. Tout au long de sa carrière, Gil s’est déplacé entre Stuttgart et l’Israël, se consacrant à la fois à l’animation, aux illustrations et à l’enseignement.

Gil Alkabetz est un professionnel de l’animation 2D dont l’approche s’avère des plus poétiques. Passé maître dans l’art de la métaphore, ses histoires sont fréquemment racontées sous forme elliptique, alors que le spectateur se voit confronté à une série d’éléments narratifs ou souvenirs fragmentés, à travers lesquels le récit est progressivement dévoilé.

Chacun de ses films possède un style distinct, caractéristique qui reflète son expérience de graphiste et d’illustrateur. Il tire souvent profit du caractère plutôt unidimensionnel de l’écran plat, en rendant parfois ses personnages à ce point abstraits qu’on les reconnaît à peine.

Ses films, tous rigoureusement préparés sous forme de scénario-maquette (storyboards), puisent leur origine d’une variété de sources. Il peut s’agir de récits issus de son imagination, de diverses lectures ou encore de ses réalisations académiques. Ses oeuvres sont un heureux mélange d’illustrations, de couleurs et d’effets sonores, auxquelles il injecte une certaine expérimentation qui transforme chacune en une oeuvre d’art à la fois unique et émouvante.

Son premier film, une oeuvre animée intitulée Bitzbutz (1984) produite selon la technique de la prise de vue image par image à l’aide de pâte à modeler, nous fait découvrir plusieurs thèmes qu’il continuera à explorer tout au long de sa carrière.

Une boîte blanche très contrastée et insérée à l’intérieur d’un cadre noir apparaît à l’écran. Un oiseau blanc parvient à se libérer de la boîte blanche et se met à picoter une série de points blancs qui se trouvent dans le cadre noir. Au centre apparaît un immense monstre noir qui se met à dévorer le cadre, pour ensuite avaler l’oiseau lui-même. Puis, inversant la relation traditionnelle du prédateur et de la proie, l’oiseau se met à dévorer le monstre de l’intérieur. On se retrouve alors devant un écran complètement blanc. L’aspect hautement contrasté et visuellement audacieux de ce film tire profit de l’écran plat, ce qui vient souligner le caractère bidimensionnel de l’image.

Dans son film intitulé Swamp (1992), Alkabetz pousse la chose encore plus loin, en « abandonnant tout angle de caméra autre que celui pointant directement devant l’image »* et en éliminant même l’image du marécage, afin de livrer une touchante méditation sur le caractère futile de la guerre. Cette fois, deux armées composées de chevaliers en armures assis sur leur cheval se font face, leur lance ayant été troquée pour d’immenses ciseaux. Une touche supplémentaire révèle chaque chevalier attaché à des ballons à l’aide de ficelles

OIAF 2011 FESTIVAL READER / FIAO 2011 LECTEUR DU FESTIVAL

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WWW.ANIMATIONFESTIVAL.CA mother who excessively dotes on him, telling him not to take cold showers, to eat his breakfast and not to forget his scarf. Yankale’s world is made up of variations of cross, plus and minus symbols that make his world look like a prison. As the story is retold in more detail, we see that the reason that Yankale is late for work that morning is that he has stopped by a river made of plusses and minuses to cut off the image of a duck his mother has sewn on his shirt, symbolically cutting his umbilical cord to her. The narration at the end of the film states that Yankale was never late for work again after this, but ironically, without his duck, Yankale now looks exactly the same as all his fellow workers. In a reflection on our search for personal freedom, the film suggests that Yankale, in making this symbolic act of liberation from his mother, hasn’t really achieved emancipation, instead, he now conforms to everyone else in his world.

In his next film Rubicon (1997) Alkabetz leaves aside plot and concentrates on formal possibilities of using a repetitive structure. Rubicon is based on the classic logic riddle that asks: How do you transport a cabbage, a sheep, and a wolf in a boat across a river when you can only take one at a time? Left alone the wolf will eat the sheep, or alternatively the sheep will eat the cabbage. How will you safely transport all three across the river?

Again the theme of prey and predator can be seen in this film. The central problem was first posed to Alkabetz 15 years earlier at art school in a workshop given by the American designer Seymour Chwast.

Alkabetz has stated “I also connected it in my mind to the ongoing peace process that was going on at the time between Israel and the Palestinians in Oslo. The attempts to find a rational solution to the conflict reminded me of that classical riddle, and I wanted to show how rational solutions usually don’t function in reality. But this context still gave me structural ideas, going from logical solutions to absurd ones, then to a conflict, which is suddenly solved without any apparent reason, till the next round…” The film follows this structure, at first attempting to solve the problem before drifting into ever more humourous and surreal juxtapositions of the central characters until we are returned, full circle, to the beginning of the story again.

Morir de Amor, (2004) finds Alkabetz returning to traditional narrative. Taking the song Morir de Amor (Dying of Love) by Charles Aznavour and Compay Segundo, Alkabetz started from “a vague idea about music’s power to awaken memories.”

The resulting film is a story of romantic betrayal told in a series of flashbacks. In an apartment, two caged parrots wait for a snoring old man to wake up and feed them. The parrots imitate the sound of everything in their environment, including the ticking of the clock and the snoring of the old man. Looking at the family photos on the walls and the picture of the parrots on the box of parrot 31

(des ballons bleus d’un côté et rouges de l’autre), ce qui les empêche de s’enfoncer dans les marécages sous leurs pieds. Leur attaque consiste à couper les ficelles de l’ennemi à l’aide des ciseaux, libérant ainsi les ballons qui s’envolent vers le ciel.

Privés de leur moyen de flottaison, les chevaliers finissent par s’enfoncer et se noyer dans les marécages. Jouant avec le concept de l’agresseur et de sa victime comme il l’avait fait dans Bitzbutz, Alkabetz nous montre les deux derniers chevaliers restés debout après le carnage, qui finissent par s’entretuer. Plus un seul combattant n’est épargné, et tout le caractère héroïque de la guerre disparaît du même coup.

Pour son prochain film, intitulé Yankale (1995), Alkabetz pousse encore plus loin le caractère simple, plat et abstrait qu’il attribue à ses personnages et ses images, à un point tel que ces derniers deviennent de simples symboles. Inspiré d’une nouvelle intitulée Where Do We Go From Here? de l’auteur israélien Aharon Almog, le film relate l’histoire de Yankale, un homme qui, contrairement à ses habitudes, arrive un matin très en retard au travail. Alkabetz raconte l’histoire de Yankale à trois reprises, en ajoutant chaque fois un peu plus de détails au récit. Celui-ci habite chez sa mère, une femme très dominante et surprotectrice, qui lui dit de ne pas prendre de douches froides, de bien manger son petit déjeuner et de ne pas oublier son foulard. L’univers de Yankale est peuplé de symboles évoquant une croix, qui lui donnent l’impression de vivre dans une prison. Au fur et à mesure que le récit nous est raconté de nouveau de façon plus détaillée, nous découvrons que le retard de Yankale à son travail est attribuable au fait qu’il s’est arrêté en bordure d’une rivière dans laquelle coulent des symboles d’addition et de soustraction. Il retire l’image d’un canard que sa mère avait cousu sur sa chemise, coupant ainsi de façon symbolique le cordon ombilical qui le retenait à elle. À la fin du film, une voix hors champ explique sous forme de narration que Yankale n’a par la suite jamais été en retard au travail. Ironiquement, cependant, dépourvu de son canard, Yankale devient identique à ses confrères de travail. Sorte de réflexion sur notre quête de liberté individuelle, le film suggère qu’en posant un geste symbolique pour se libérer de l’emprise de sa mère, Yankale n’est pas vraiment parvenu à s’émanciper. Il devient plutôt une copie conforme de ceux et celles qui l’entourent.

Avec son oeuvre suivante, intitulée Rubicon (1997), Alkabetz fait fi d’une histoire pour plutôt se concentrer sur les possibilités qu’offre une structure répétitive. Rubicon s’inspire de la célèbre énigme logique qui pose la question suivante : comment parvient-on à transporter par bateau un chou, un mouton et un loup d’un côté à l’autre d’une rivière si on ne peut embarquer qu’un seul des trois à la fois? S’ils sont laissés derrière, le loup finira par dévorer le mouton, ou le mouton mangera le chou.

Comment alors mener tous trois en toute sécurité vers l’autre rive? Une fois de plus, le film explore

WWW.ANIMATIONFESTIVAL.CA DECODING NARRATIVE: GIL ALKABETZ PRESENTED BY THE GOETHE-INSTITUT / THE EMBASSY OF ISRAEL IN CANADA Thursday, September 22, 7:00 pm (National Gallery) Friday, September 23, 5:00 pm (National Gallery) Sunday, September 25, 1:00 pm (National Gallery) BITZBUTZ (1985) 2:45 | DIGITAL SWAMP (1991) 10:54 | 35MM YANKALE (1995) 9:09 | 35MM RUBICON (1997) 6:54 | 35MM LUCKY STARS (2000) 4:30 | DIGITAL TRIM TIME (2002) 2:30 | 35MM TRAVEL TO CHINA (2002) 2:42 | 35MM MORIR DE AMOR (2004) 12:40 | 35MM A SUNNY DAY (2007) 6:17 | 35MM THE DA VINCI TIME CODE (2007) 3:00 | 35MM WOLLMOND (KNITTED NIGHTS) (2009) 6:20 | DIGITAL

feed, the parrots start to reminisce about when they first met and were captured by their owner many years before when he was on a picnic trip with his wife and chauffeur in the jungle. The parrots sing the title song, which was playing on the portable record player during the picnic.

Reliving the scene, the parrots even mimic the sounds of the lovemaking between the chauffeur and the man’s wife while he is off hunting with a net that eventually will capture them. The parrots loudly repeat the ecstatic cries of the wife calling out ‘Pedro’, the chauffeur’s name, awakening the old man who comes to the realization that he had been betrayed many years earlier while looking at a family portrait where he sees that his son has the same red hair as the chauffeur.

The beauty of Morir de Amor is the complex way it tells the story through a series of flashbacks. It’s a wonderful meditation on memory.

The theme of desire reappears in Travel to China (2002). Here Alkabetz uses only one picture to tell the story of a man who dreams all his life of leaving his home and travelling far away. Movement

le concept du prédateur et de sa proie - un thème central qu’Alkabetz a pour la première fois abordé 15 ans plus tôt lors d’un atelier offert par le concepteur américain Seymour Chwast.

Alkabetz a déjà révélé qu’il avait aussi associé, dans son esprit, ce thème au processus de paix qui était en cours à l’époque entre l’Israël et la Palestine, et qui se déroulait à Oslo. « Les efforts pour parvenir à une résolution rationnelle au conflit m’a rappelé cette énigme classique, disait-il. Or, je tenais à démontrer que les solutions rationnelles ne s’appliquent habituellement pas à la réalité. À partir d’un tel contexte, j’ai puisé certaines idées structurelles variant entre les solutions logiques et celles plus absurdes, et menant ultimement vers un conflit qui est résolu soudainement et sans raison apparente - du moins, jusqu’à ce que le prochain conflit se manifeste... » Le film adhère à une telle structure, en cherchant d’abord une solution au conflit, avant de basculer progressivement dans une série de juxtapositions à la fois humoristiques et surréalistes des personnages principaux. Éventuellement, nous revenons à la case départ, soit au début du récit.

Dans Morir de Amor (2004), Alkabetz effectue un retour au récit raconté de façon traditionnelle. À partir de la chanson Morir de Amor (Mourir d’amour) de Charles Aznavour et Compay Segundo, Alkabetz développe « une vague notion du pouvoir de la musique pour évoquer des souvenirs ». Il en résulte un film sur la trahison amoureuse racontée sous forme d’une série de flash-back. Dans un appartement, deux perroquets en cage attendent qu’un vieux ronfleur se réveille pour les nourrir. Les perroquets s’amusent à imiter tous les sons qui les entourent, incluant le tic tac de l’horloge et les ronflements du vieil homme. En contemplant les photos de famille sur les murs et la photo des perroquets sur leur boîte de nourriture, les oiseaux se mettent à évoquer leur première rencontre, et le moment où ils furent capturés par leur maître il y a plusieurs années, alors que ce dernier piqueniquait avec sa femme et son chauffeur dans la jungle. Les perroquets se mettent alors à chanter la chanson-titre du film, qui jouait à l’époque sur une table-tournante lors du pique-nique.

Transportés dans ce passé, les perroquets parviennent même à imiter les sons émis par le chauffeur et la femme de leur maître, alors que ce dernier était parti, filet en main, pour une chasse qui allait mener à leur capture. Les perroquets reproduisent bruyamment les cris d’extase de la femme, qui répétait le nom de Pedro - soit celui du chauffeur. Le son des oiseaux finit par réveiller le vieil homme, qui réalise alors qu’il a été trahi des années plus tôt en constatant, sur une photo de famille, que son fils porte la même chevelure rousse que le chauffeur.

Ce qui rend Morir de Amor si séduisant, c’est sa façon complexe de raconter une histoire à l’aide de

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WWW.ANIMATIONFESTIVAL.CA is created through circular repetitions of different details of the image, but ultimately the man remains trapped in his room.

Alkabetz reprises the idea of animating a single image in The Da Vinci Time Code (2009). This time, secret movements in Leonardo Da Vinci’s painting The Last Supper are revealed. Here linear repetitions of fragments of the painting cause Christ and his Disciples to come to life: eating, dancing, discussing and arguing, until finally, all are silenced.

Over the past 27 years, Gil Alkabetz has juggled his work in illustration, teaching, and commercial animation to create an impressive body of independent animation. *From a 2011 interview with Gil Alkabetz conducted by Madi Piller.

flash-back. Le film s’avère une superbe méditation sur la mémoire et les souvenirs.

Le sujet du désir est à nouveau abordé dans Travels to China (2002). Cette fois, Alkabetz a recours à une seule image afin de raconter l’histoire d’un homme qui passe sa vie à rêver de quitter sa maison pour voyager à l’étranger. Alkabetz parvient à reproduire le mouvement en révélant de façon circulaire et répétitive divers détails apparaissant sur la photo; toutefois, l’homme demeure ultimement prisonnier de sa chambre.

L’animation d’une seule et même image caractérise aussi The Da Vinci Time Code (2009). Cette fois, ce sont des mouvements secrets dans la fresque La Cène (The Last Supper), de Léonard de Vinci, qui nous sont révélés. Ici, grâce à une répétition linéaire de divers fragments de l’oeuvre, le Christ et ses disciples prennent vie. Ces derniers mangent, dansent, discutent et se disputent. Puis, à la fin, tous redeviennent silencieux.

Au cours des 27 dernières années, Gil Alkabetz est parvenu, en combinant ses rôles d’illustrateur, d’enseignant et de créateur de films d’animation commerciaux, à bâtir une filmographie impressionnante dans le domaine de l’animation indépendante.* Tiré d’une entrevue avec Gil Alkabetz effectuée en 2011 par Madi Piller.

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AARON AUGENBLICK: LAST EXIT TO BROOKLYN AARON AUGENBLICK S’ANIME À BROOKLYN By / Par Chris Robinson There’s never been a richer time in animation.

With the emergence of new technologies that have made animation more affordable to produce and an animation boom which saw the rise in animation production on tv, online, commercials, music videos, and in cinemas, the opportunity exists for animators to successfully straddle the line between commercial and artistic work. Brooklyn based Aaron Augenblick is part of a growing trend of animators who operate small boutique studios that take on selective commissioned projects and then put their profits into creating personal short films.

Augenblick’s background, fittingly, reflects his duo-animation citizenship. Originally from Wilmington, Delaware, his father was a mechanical engineer and his mother an art teacher. “I feel like I am a perfect amalgam of these two schools of thought,” says Augenblick. “I was raised with an appreciation for science and mechanical things, as well as a love of art and creativity. When I was a little kid, my dad built a robot arm called ORCA that is used to this day in chemical laboratories.”

Augenblick was interested in animation at a very early age. “I had a crappy Apple IIE computer when I was a kid, with some primitive animation programs. My main character was a purple glob of goo who went on crazy adventures. They were very stupid, but I was doing my best to create funny stories like the ones I watched on TV.

L’animation connaît sa véritable heure de gloire.

L’émergence de nouvelles technologies qui rendent plus abordable la réalisation d’oeuvres animées, ainsi qu’un nouveau souffle attribuable à la multiplication de plateformes et canaux de diffusion tels la télévision, le Web, la publicité, les vidéoclips et le cinéma, permettent plus que jamais aux créateurs d’oeuvres animées de trouver aisément un équilibre entre commerce et vision d’auteur. Originaire de Brooklyn, Aaron Augenblick fait partie de cette classe émergente de créateurs ayant leur propre petit studio spécialisé, d’où ils peuvent produire des oeuvres sur demande pour ensuite réinjecter les profits générés dans la réalisation de courts métrages de leur propre cru.

Ce n’est sans doute pas le fruit du hasard si le cheminement d’Augenblick reflète sa « double citoyenneté » en animation. Celui-ci a été élevé à Wilmington, dans le Delaware, par un père ingénieur mécanique et une mère qui enseignait les arts. « Je me considère comme étant un amalgame parfait de ces deux écoles de pensée, observe Augenblick. On m’a inculqué une appréciation de la science et des objets mécaniques, mais aussi des oeuvres artistiques et de la création. Lorsque j’étais enfant, mon père a fabriqué un bras robotisé appelé ORCA, que l’on utilise encore aujourd’hui dans les laboratoires de chimie. » Augenblick s’est intéressé à l’animation à un très jeune âge. « Enfant, je possédais un ordinateur Apple IIE rudimentaire qui incluait certains programmes basiques en animation, se rappelle-

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WWW.ANIMATIONFESTIVAL.CA It wasn’t until high school though that Augenblick really felt that he could pursue a career in animation. While attending an animation summer course at the University of the Arts in Philadelphia, Augenblick tried traditional (drawn) animation for the first time. The experience changed his life.

“When I saw my first pencil test it blew my mind.

I made an old lady walking across the street with a walker. I had no idea what I was doing, so the old lady undulated and morphed into all kinds of crazy shapes as she walked. However, there was a life to the movement and the drawings that I had never encountered before and I knew I had to keep doing this and get better.”

While majoring in animation at the School of Visual Arts in New York, Augenblick made his first two films, The Wire and Midnight Carnival. Already with Midnight Carnival (1997), Augenblick’s bold graphic and dark sensibilities are present in this early black and white film. The protagonist – named the Dignified Devil – is drinking alone in a bar. He finishes his drink, wanders the streets and stumbles upon a lit doorway in an alley. He enters and discovers a strange carnival of freaks taking place. After walking through the carnival and seeing how one of the freaks sees him as a freak, the Devil remains and becomes part of the show.

After graduation, Augenblick took a breather from animation, but while working in Virginia as a night clerk in a hotel, MTV animation came calling.

“They had seen Midnight Carnival and asked me to work on the animated adaptation of the comic book Hate by Peter Bagge. I packed my stuff and came back to New York and went to work.” Augenblick ended up working for MTV on a variety of shows including Hate, Daria and Downtown).

By 1999, he was tired of doing hired work and wanted to go back to making his own films. I wrote a script for an animated feature and showed it to a friend. He liked it, so we pulled our money together and rented a small space in Brooklyn. I got a few more friends and we produced a threeminute excerpt from the feature in an attempt to secure financing for the feature. That excerpt was Ramblin’ Man. Unfortunately, we never got any funding, so we ran out of money fast. My partner left the studio and I was unable to continue paying any employees. I was at a very low point, with a failing studio and no idea what to do.”

At that point, Augenblick decided that the best approach would be to combine freelance and independent work. “The idea was that I would be doing freelance work by day, while doing independent projects by night. This is when I think we became a real studio. I worked on a ton of freelance gigs, and also made Drunky, Plugs McGinniss, and the Dignified Devil. Small jobs began to lead to bigger jobs and our first big break was Shorties Watchin’ Shorties on Comedy Central. After that, I’ve had the luxury of being choosy about the freelance jobs we take on as a production studio.

In addition, I have been able to develop my own 35

t-il. J’avais alors créé un personnage, une sorte de boule gluante mauve qui vivait des aventures loufoques. Ces petits films étaient certes ridicules; toutefois, ce que je cherchais à faire, c’était à m’investir dans la création d’histoires drôles comme celles que j’appréciais à la télévision. » C’est cependant à l’école secondaire qu’Augenblick a vraiment compris qu’il pourrait faire une carrière en animation. Lors d’un cours d’été en animation à la University of the Arts de Philadelphie, Augenblick a pour la première fois exploré l’univers de l’animation traditionnelle (soit celle faite à partir de dessins). Cette expérience a changé le cours de sa vie. « Lorsque j’ai vu mon premier dessin au crayon, j’ai été éberlué, dit-il.

Il s’agissait d’un dessin représentant une vieille dame qui traversait la rue avec sa marchette. Je n’avais alors aucune idée de ce que je faisais; ainsi, la dame s’est mise à onduler et à se transformer en une multitude de formes étranges au fur et à mesure qu’elle traversait la rue. Je constatais que le mouvement et les dessins semblaient prendre vie, chose que je n’avais jamais observée auparavant. J’ai su d’emblée que je devais poursuivre cette démarche et chercher à m’améliorer. » Durant ses études en animation à la School of Visual Arts de New York, Augenblick a réalisé ses deux premiers films, intitulés The Wire et Midnight Carnival. Cette dernière oeuvre, créée en noir et blanc en 1997, se démarquait d’ores et déjà par son imagerie brute et ses émotions plutôt sombres.

Le protagoniste principal, un dénommé Dignified Devil, sirote un verre seul, assis à un bar. Puis, il déambule dans les rues et découvre, dans une ruelle, une entrée baignant dans la lumière. À l’intérieur, il se retrouve devant un étrange carnaval peuplé de gens aux allures excentriques. Constatant, après une visite des lieux, qu’un des personnages excentriques le percevait de la même façon, notre Devil décide de rester et de faire partie du spectacle.

Après avoir obtenu son diplôme, Augenblick décide de prendre une pause dans l’animation.

Toutefois, alors qu’il travaille en tant que réceptionniste de nuit dans un hôtel de Virginie, la division animation de la chaîne MTV le sollicite. « Ces gens avaient vu Midnight Carnival et m’ont invité à travailler sur une adaptation animée de la bande dessinée Hate, de l’auteur Peter Bagge, dit Augenblick. J’ai alors plié bagage et suis retourné à New York, où je me suis d’emblée mis au travail. » Augenblick aura ultimement oeuvré sur plusieurs émissions pour MTV, dont Hate, Daria et Downtown. En 1999, blasé par le travail sur commande, il songe à créer à nouveau ses propres oeuvres. « J’ai écrit un scénario pour un long métrage d’animation et l’ai fait lire à un ami, raconte-t-il.

Or, celui-ci a d’emblée aimé mon récit. Nous avons donc chacun investi notre propre argent dans l’aventure et loué un petit local à Brooklyn. J’ai réuni quelques autres de mes amis et, ensemble, nous avons produit un extrait du long métrage d’une durée de trois minutes, dans le but d’obtenir

WWW.ANIMATIONFESTIVAL.CA projects like Golden Age. Augenblick’s first independent film was the striking Ramblin’ Man (2000). In this short, a robotic cowboy and his horse on wheels ride to the Hank Williams tune. While there isn’t much meat to the story, the visuals contain a stunning array of colours and original designs that clearly echo 1930s animation, in particular the work of the Fleischer Brothers and U.B. Iwerks.

The film came from a dream sequence that Augenblick originally intended for a feature called The Robot’s Song. “The story was about a circusrobot who runs away and finds love in the big city.

I always loved Hank Williams, and this song was the perfect voice for the Robot’s dream of being a rootless drifter. We never got to make the full movie, but Ramblin’ Man had a good life in animation festivals.”

After finishing Ramblin’ Man, Augenblick stumbled onto Flash animation (created using Adobe Flash Software). When asked by a prospective employer if he knew Flash, Augenblick lied and said that he did. “I learned it over a weekend, and started work on that Monday,” remembers Augenblick. “I was amazed at how easy it was to create a fully realized cartoon. I had just finished Ramblin’ Man, which was 3 minutes long and took about a year to make. My first Flash cartoon took about one week for the same amount of animation. I knew that even though it was a clumsy program, Flash was the key for my studio to create animation in a more feasible and economical way. Over the years, I have continued to evolve the way I use the program, to avoid using gimmicks, and make more traditionally animated cartoons.”

The Dignified Devil in Shirley Temple (2001) was an early experiment with Flash and a return to the main character of Midnight Carnival. It’s not one of Augenblick’s stronger films, but it is unique in that it offers a rare display of Augenblick’s serious side. This time, the Devil protagonist wakes up in a hotel. Outside he sees twin girls fighting. He goes out and ends up going after one of the troubled twins. They walk the streets, talk and fuck. Then they sleep, she pukes on him and they go their separate ways. The story has a nightmarish David Lynch (whose work clearly influences Augenblick) tone to it, but this strange moment between these two people is also grounded in reality. This blurring of nightmare and reality will become a common theme in Augenblick’s work.

Another early Flash film was the hilarious Drunky (2002), which tells a rather unusual story of a straight guy who has sex with men when he gets drunk. Even at this early stage of Flash animation, Augenblick’s bold visual style and innovative character designs immediately catch the eye and serve as perfect complements for the distressed state of the main character. “I thought it would be funny if there was a straight guy who, whenever

des financements pour pouvoir compléter l’oeuvre finale. Cet extrait s’intitulait Ramblin’ Man. Malheureusement, nous n’avons pas obtenu les fonds souhaités, et notre propre investissement s’est rapidement épuisé. Mon partenaire a fini par quitter le studio, et je n’étais plus en mesure de verser un salaire à mes employés. Ce fut pour moi un moment très difficile. Mon studio était à la dérive, et je n’avais aucune solution.

Augenblick détermine alors que la meilleure approche serait de combiner le travail à la pige et la création de ses propres réalisations. « Mon intention était de livrer des piges le jour, et de vaquer à mes projets indépendants le soir, explique-t-il.

C’est à ce moment que notre studio a réellement pris son envol. J’ai réalisé une vaste quantité de mandats à la pige, en plus de produire les oeuvres Drunky, Plugs McGinniss et Dignified Devil. Les petits mandats on mené à des commandes de plus grande envergure, et notre première véritable percée est venue avec le projet Shorties Watching Shorties, diffusé sur les ondes de la chaîne Comedy Central. Par la suite, j’ai pu me permettre d’être plus sélectif dans le type de mandat que nous serions prêts à entreprendre en tant que studio de production. J’ai du même coup été en mesure de développer mes propres projets, dont celui intitulé Golden Age. » Le premier film indépendant d’Augenblick s’intitulait Ramblin’ Man, réalisé en 2000. Ce court métrage dépeint un cowboy robot et son cheval sur roues, qui se promènent au rythme d’une chanson de Hank Williams. Même si l’histoire en tant que telle demeure plutôt simple, les éléments visuels se distinguaient par une impressionnante variété de couleurs et de concepts originaux évoquant de toute évidence le style d’animation des années 30, particulièrement les oeuvres des Fleischer Brothers et d’U.B. Iwerks.

Le film est le résultat d’une séquence se déroulant dans un rêve, qu’Augenblick avait à l’origine prévu inclure à un long métrage intitulé The Robot’s Song. « On y découvrait un robot de cirque qui s’enfuit et qui finit par trouver l’amour en ville, évoque-t-il. J’ai toujours aimé les chansons de Hank Williams, qui exprimaient idéalement le rêve du robot de devenir une espèce de vagabond sans attaches. Le film n’aura finalement jamais vu le jour, mais Ramblin’ Man, lui, aura brillé dans les divers festivals d’animation. » Une fois Ramblin’ Man achevé, Augenblick découvre par hasard l’animation en format Flash (créée à partir du logiciel Flash de la compagnie Adobe).

Lorsqu’un employeur potentiel lui demande s’il est familier avec Flash, Augenblick lui répond par l’affirmative — même si la réalité était toute autre. « J’ai appris à maîtriser le logiciel au cours d’un seul et même week-end, et mon emploi débutait le lundi suivant, se rappelle-t-il. J’ai été épaté par la facilité de créer, à partir du logiciel, des dessins animés qui devenaient des oeuvres en soi.

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WWW.ANIMATIONFESTIVAL.CA he got drunk, would black out and wake up having just had sex with a guy,” adds Augenblick. “So, he would drink to deal with his emotional distress, and end up having sex with another guy again.

A vicious circle. Then I added in the Disney angle (what’s gayer than Disney?), having the antagonist be a classic Disney villain, complete with a “Pink Elephants” style hallucination sequence.”

2003 was a breakout year for Augenblick. That year he completed a new short, Plug’s McGinniss (about an alcoholic seeing-eye dog), a commissioned short called The Man with the Smallest Penis (about a man with a microscopic dick who finds love with a lab technician) and began work on series for Comedy Central called Shorties Watchin’ Shorties (2003-2004). The series featured animated interpretations of stand-up routines from dozens of comedians including Dane Cook, Mike Birbiglia, Lewis Black, Bill Burr, Colin Quinn and Jim Gaffigan. “It was created by Eric Brown of World Famous Pictures,” says Augenblick. “He was a fan of Drunky and contacted me to create animated content for the show. Basically, they would send us audio clips and we would find a funny way to animate them. We would have studio brainstorm sessions where everyone would come up with visual gags for the bits. It was a really fun time, and we produced a hell of a lot of animation.

After finishing Shorties, Augenblick landed another TV gig, this time for the MTV children’s show parody, Wonder Showzen. When series creators John Lee and Vernon Chatman invited Augenblick to do the show’s animation, they could not have found a more perfect fit for their twisted comic sensibilities. “It ended up being a match made in heaven. I still think Wonder Showzen was one of the best television shows of all time. The wide variety of styles we had to work in really pushed our limits and made our studio much stronger artistically. It was always fun to get a new assignment from them and figure out how we were going to pull it off. We worked on Wonder Showzen for the two seasons it was on the air and it’s still probably the work that we are best known for.”

Augenblick directed all the shorts for the show and was given a long artistic leash. “They would send us a script, audio, and rough designs and we would have a discussion about the overall direction,” says Augenblick. “Sometimes they would have a very specific subject they were lampooning and other times it was more vague. Sometimes we would take it in a different direction than they expected, but they were always encouraging us to be creative.”

One of the stand out shorts is Mr. Bible. The nightly prayers of a sweet young child are interrupted by three characters representing sex, drugs and violence.

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Je venais de compléter Ramblin’ Man, un film de trois minutes qui avait exigé une année complète de réalisation. Or, mon premier dessin animé en format Flash, d’une durée similaire, n’avait exigé que trois semaines de travail. Même si je ne pouvais que constater l’aspect rudimentaire du logiciel, Flash s’est avéré un élément important ayant permis à mon studio de créer des oeuvres animées de façon plus efficace et abordable. Au fil des ans, l’utilisation que j’ai faite de cet outil n’a cessé d’évoluer. J’en suis venu à éviter les artifices pour plutôt privilégier un style d’animation plus traditionnel. » The Dignified Devil in Shirley Temple, réalisé en 2001, constitue à la fois une première expérimentation avec le format Flash et un retour du personnage principal du film Midnight Carnival. Même s’il ne s’agit pas de l’oeuvre la plus solide du répertoire d’Augenblick, celle-ci se distingue toutefois par le fait qu’il s’agit d’une rare démonstration d’une facette plus sérieuse du créateur. Cette fois, on découvre le fameux Devil qui se réveille dans un hôtel. Par sa fenêtre, il observe deux soeurs jumelles qui se chamaillent. Il quitte l’hôtel et se met à suivre l’une des deux femmes. Ils déambulent sur la rue, se parlent et font l’amour. Puis ils s’endorment, elle lui vomit dessus et ils finissent par prendre des chemins séparés. Le récit évoque le style cauchemardesque de David Lynch (dont les oeuvres ont définitivement influencé le travail d’Augenblick). Toutefois, cet étrange instant que partagent les deux protagonistes est aussi enraciné dans la réalité. Ce flou qui se manifeste entre le cauchemar et la réalité deviendra d’ailleurs un thème récurrent dans les oeuvres d’Augenblick.

Parmi ses premières réalisations en format Flash, on souligne aussi l’hilarant Drunky, produit en 2002. Le film raconte l’histoire plutôt inhabituelle d’un homme hétérosexuel qui baise avec des hommes lorsqu’il est saoul. Même à cette époque où la technologie Flash demeurait relativement limitée, le style visuel saisissant et la conception fort originale des personnages créés par Augenblick captent d’emblée l’attention et soulignent habilement la détresse du personnage principal. « J’ai pensé qu’il pourrait être drôle si un homme hétérosexuel, lorsqu’il a trop bu, perdait connaissance et se réveillait en constatant qu’il a fait l’amour à un homme, dit Augenblick. Alors, il boirait pour mieux vivre sa détresse émotive — ce qui le mènerait invariablement dans le lit d’un autre homme. Une sorte de cercle vicieux, quoi. Puis, j’ai ajouté au tout une touche à la Disney (après tout, quoi de plus gai que Disney?), en faisant de mon antagoniste un méchant dans la plus pure tradition Disney — et en ajoutant une séquence hallucinatoire peuplée d’éléphants roses. » 2003 s’est avérée une année charnière pour Augenblick. Au cours de cette période, il a réalisé un nouveau court métrage, intitulé Plug’s McGinnis, qui relate l’histoire d’un chien pour aveugles alcoolique. Il a aussi produit pour le compte d’autrui

WWW.ANIMATIONFESTIVAL.CA un autre court métrage, The Man with the Smallest Penis, à propos d’un homme pourvu d’un membre reproductif minuscule, qui s’éprend d’une technicienne en laboratoire. C’est aussi au cours des années 2003 et 2004 qu’il a amorcé la série Shorties Watchning Shorties pour la chaîne Comedy Central. Cette dernière consistait en une interprétation en dessins animés des numéros de nombreux humoristes, dont Dane Cook, Mike Birbiglia, Lewis Black, Bill Burr, Colin Quinn et Jim Gaffigan. « La série fut créée par Eric Brown de World Famous Pictures, dit Augenblick. Celui-ci était un admirateur de mon film Drunky, et m’avait approché pour créer du contenu animé pour la série.

Essentiellement, ces gens nous faisaient parvenir des clips audio et nous devions trouver une façon d’animer le tout. Nous prenions part à des sessions de remue-méninges au studio, et tous y allaient de leurs suggestions pour des gags visuels ponctuant les blagues des humoristes. Ce fut une période à la fois amusante et prolifique, de laquelle a découlé beaucoup, beaucoup d’animation. »

Mr. Bible shows up to protect the boy but quickly finds himself drawn into the beliefs of the other characters. From that moment, all hell breaks loose as the Bible gets drunk, fucks the Koran, frees Jesus from the crucifix so that he can score with twins and break-dance in the church. The bit is not more than a minute long, but in that time, Augenblick has created a hilarious and scathing satire of Christianity. Augenblick’s inspired ‘30s era animation adds a rich layer of irony to the piece. The young boy looks like a typical Disney character from that time with his soft angelic features and gentle giant eyes. In the final scene, the break-dancing Jesus recalls the strange, rotoscoped Cab Calloway routine from the Fleischer Brothers short, Snow White (1933).

“Mr. Bible is one of my favorite Wonder Showzen bits,” says Augenblick. “They wanted it to be in a 30’s Fleischer style which is my personal favorite era of animation. We looked at a lot of old Betty Boop and Popeye cartoons and did our best to replicate that era. I always loved the weird rotoscoping that the Fleischers used to do, so we threw some in by having Jesus Christ do a little break-dancing at the end of the cartoon.”

Une fois Shorties achevé, Augenblick obtient un autre contrat en télévision, cette fois pour travailler sur Wonder Showzen, une parodie des émissions pour enfants diffusée sur les ondes de la chaîne MTV. Lorsque les créateurs de la série John Lee et Vernon Chatman ont invité Augenblick à en produire l’animation, ils ont rapidement constaté que leur humour décapant lui allait comme un gant. « Cela s’est avéré un mariage de rêve, constate Augenblick. À ce jour, je crois que Wonder Showzen s’avère l’une des meilleures séries télé jamais produites. La grande variété de styles qui nous étaient confiés nous a amené à vraiment nous surpasser, et notre studio n’en a été qu’enrichi sur le plan artistique. C’était toujours un pur plaisir de se voir confier un nouveau mandat et d’essayer de voir comment nous allions parvenir à relever le défi. Nous avons été impliqués sur Wonder Showzen pendant les deux années où elle fut produite, et la série demeure sans doute celle pour laquelle notre travail a connu sa plus grande notoriété. » Augenblick aura réalisé tous les courts métrages ayant fait partie de la série, et on lui a accordé une grande liberté créative. « On nous faisait parvenir un scénario, une capsule audio ainsi qu’un concept général, et par la suite nous discutions en l’interne de la direction que nous allions donner au tout, dit Augenblick. Il pouvait s’agir d’un sujet très pointu qui faisait l’objet d’une parodie, ou encore de quelque chose d’un peu plus vague. Parfois, nous amenions le tout dans une direction inattendue, mais nous étions toujours encouragés à faire preuve de créativité. » L’un des courts métrages qui se sont particulièrement démarqués s’intitulait Mr. Bible, où les prières du soir d’un jeune enfant adorable sont interrompues par trois personnages représentant le sexe, la drogue et la violence. M. Bible apparaît alors afin de protéger le jeune garçon, mais en

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WWW.ANIMATIONFESTIVAL.CA LAST EXIT TO BROOKLYN: AARON AUGENBLICK Thursday, September 22, 7:00 pm (Empire Theatres Rideau Centre) Friday, September 23, 7:00 pm (Arts Court Theatre) Sunday, September 25, 3:00 pm (National Gallery) AUGENBLICK STUDIOS DEMO REEL (2011) 2:00 | DIGITAL LOUIS CK ‘CARTOON’ (2007) 2:05 | DIGITAL RAMBLIN’ MAN (2000) 3:32 | 35MM PLUGS MCGINNIS (2003) 4:00 | DIGITAL DRUNKY ‘IN THROUGH THE OUT DOOR’ (2002) 3:10 | DIGITAL PATTON OSWALT ‘SLATHERED MAYO’ (2004) 1:40 | DIGITAL MITCH HEDBERG ‘SUBWAY DUCK’ (2004) 2:00 | DIGITAL MIKE BIRBIGLIA ‘GAY CATS’ (2004) 1:00 | DIGITAL BILL BURR ‘EQUAL RIGHTS’ (2004) 2:00 | DIGITAL WONDER SHOWZEN ‘MR. BODY’ (2006) 0:40 | DIGITAL WONDER SHOWZEN ‘PREMIES’ (2006) 1:47 | DIGITAL WONDER SHOWZEN ‘HOBO-OPS’ (2005) 2:50 | DIGITAL WONDER SHOWZEN ‘MR. BIBLE’ (2005) 1:43 | DIGITAL THE TEN ‘LYING RHINO’ (2006) 5:30 | DIGITAL CARTOON SHOW OFFICIAL TRAILER (2010) 2:00 | DIGITAL GOLDEN AGE (2007) 22:00 | DIGITAL

In 2006, Augenblick produced Golden Age, his finest work to date. Not surprisingly, the 22-minute faux documentary began its life as a commission series of episodes for Comedy Central. Golden Age is a masterpiece of parody that follows the scandalous lives of ten animated characters that have stumbled from stardom into a variety of misfortunes ranging from addiction to race to cereal killings.

“Golden Age,” says Augenblick, “started out as a pitch I wrote for a show about a retirement home for over-the-hill cartoon characters. Comedy Central was interested in it, but they felt the format was too similar to Drawn Together, which they were about to debut. They asked me if I could adapt the characters into a different format, and I 39

vient rapidement à succomber aux croyances des trois autres protagonistes. Puis, on assiste à une véritable débandade, alors que la bible se saoule, baise le Coran, et libère le Christ de la croix afin que celui-ci puisse profiter de deux belles jumelles et se taper un peu de break dance dans l’église.

Le film dure à peine une minute, mais cela suffit pour permettre à Augenblick de livrer une satire à la fois mordante et hilarante du christianisme. Son style d’animation, évoquant celui des années 30, ajoute une solide dose d’ironie au tout. Le jeune garçon évoque un personnage typique de l’univers Disney à l’époque, avec ses traits angéliques et ses yeux de gentil toutou. Lors de la scène finale, le Jésus dansant évoque quant à lui l’étrange numéro de danse en rotoscopie figurant dans le court métrage Snow White des Fleischer Brothers, réalisé en 1933. « Mr. Bible est l’un de mes segments préférés de la série Wonder Showzen, admet Augenblick. Ils tenaient à ce que le film reflète le style Fleischer des années 30, qui correspond justement à une ère de l’animation que j’affectionne particulièrement. Nous avons visionné plusieurs dessins animés de Betty Boop et Popeye, et avons tâché de reproduire le plus fidèlement possible le style de l’époque. J’ai toujours admiré l’étrange technique rotoscopique employée par les Fleischers, alors nous y avons eu recours pour permettre à Jésus de faire un petit numéro de break dance à la fin du film d’animation. » En 2006, Augenblick produit Golden Age, son oeuvre la plus achevée à ce jour. Sans surprise, ce faux documentaire d’une durée de 22 minutes doit son inspiration à une série d’épisodes réalisés pour le compte de Comedy Central. Golden Age est un pur chef-d’oeuvre en matière de parodie. On y présente la vie scandaleuse de dix personnages animés, qui ont vu leur célébrité leur glisser entre les doigts suite à une série de malchances, que ce soit la dépendance, les courses ou encore le meurtre de céréales. « Golden Age est né d’un synopsis que j’avais pondu pour une éventuelle série sur une résidence pour personnes âgées qui accueillait des personnages animés dont les heures de gloire étaient derrière eux, explique Augenblick. Comedy Central y avait manifesté un certain intérêt, mais avait conclu que le format était trop similaire à une autre série, intitulée Drawn Together, que la chaîne s’apprêtait à diffuser. On m’a alors demandé s’il était possible d’adapter les personnages à un autre format. C’est alors que j’ai eu l’idée de présenter chaque personnage comme s’il faisait l’objet d’un documentaire sur sa vie. Ils ont adoré le concept, et nous ont demandé de produire dix épisodes. Ce fut certes un projet des plus excitants, car il nous a permis d’expérimenter avec une grande variété de médias et de réaliser des choses que nous n’avions jamais faites auparavant. »

WWW.ANIMATIONFESTIVAL.CA hit upon the idea of presenting each character as a short documentary subject. They loved the idea, and commissioned us to do ten episodes. It was a really exciting project, because it allowed us to experiment with a wide variety of mixed media and try a lot of things we had never done before.”

Golden Age shows Augenblick expanding his graphic and storytelling skills. It’s not often an episodic piece of this length can sustain its energy, but Augenblick pulls it off with deft comic timing, rich character development (including many animation archetypes), and an array of techniques that masterfully mimic the animation of a character’s time (from 1930s-era rubber hose animation to the limited lame animation of the seventies and eighties). Augenblick’s graphic approach is so informed and on the mark that Golden Age also serves as an impromptu history of animation techniques and styles.

“I’m a huge fan of animation history,” says Augenblick, “and by the different styles and techniques animators have used in the past 100 or so years.

I was lucky enough to be one of the last classes at SVA that had to learn how to use an Oxberry Camera and that has informed a lot of the replications we’ve done of the old techniques.”

The success of Golden Age and Wonder Showzen has brought Augenblick a steady stream of interesting work including Sesame Street (a nifty piece about tall tales featuring Johnny Cash), a short for comedian Louis C.K., and work on the ultra violent, Gary Panter influenced Adult Swim TV show, Superjail (2007).

What’s remarkable about Augenblick’s success is that, no matter the type of work, his visual style is almost always recognizable and more importantly, there’s a common trait to all of his characters.

Fusing the comic surrealism of the Fleischer’s with the nightmarish scenarios of David Lynch and the troubled, feeble characters of Hubert Selby Jr, Augenblick’s protagonists are a messed up bunch, struggling through absurd, nightmarish scenarios, trying to find a semblance of identity and place.

Avec Golden Age, les compétences d’Augenblick sur le plan graphique et narratif atteignent un tout autre niveau. Il est rare qu’une série qui s’échelonne sur telle durée arrive à maintenir une certaine vélocité, mais Augenblick y parvient tout en faisant preuve d’un excellent sens du rythme au niveau de l’humour et d’un développement étoffé de ses personnages (dont plusieurs représentent des archétypes de l’animation), et aussi en ayant recours à une panoplie de techniques qui imitent à merveille le style d’animation dans lequel évoluait jadis un personnage en particulier (qu’il s’agisse de l’animation plutôt flexible des années 30, ou encore de celle passablement terne propre aux années 70 et 80). L’approche d’Augenblick sur le plan visuel est à ce point fouillée et authentique que Golden Age devient en quelque sorte une capsule retraçant l’évolution des styles et techniques d’animation à travers les âges. « Je me passionne pour l’histoire de l’animation, et aussi pour les différents styles et techniques employés par les créateurs en animation au cours des cent dernières années, dit Augenblick. J’ai eu la chance de suivre l’un des derniers cours au SVA où l’on enseignait l’usage d’une caméra Oxberry. Cela a beaucoup influencé la façon dont nous sommes parvenus à reproduire aujourd’hui de vieilles techniques auxquelles on avait jadis recours. » Le succès qu’ont connu Golden Age et Wonder Showzen auront permis à Augenblick de travailler régulièrement sur des projets fort intéressants, incluant la série Sesame Street (pour laquelle il a créé un segment des plus amusants mettant en vedette Johnny Cash). Il a aussi réalisé un court métrage pour le comédien Louis C.K., en plus d’oeuvrer sur la série télé ultraviolente Superjail, influencée par Gary Panter et diffusée en 2007 sur les ondes d’Adult Swim.

Ce qui rend le succès d’Augenblick d’autant plus remarquable, c’est que peu importe la nature du travail à accomplir, son style visuel est pratiquement toujours aisément reconnaissable. Aussi, chose encore plus importante, ses personnages ont tous des traits communs. Sorte d’amalgame entre le surréalisme comique des Fleischer, les scénarios cauchemardesques de David Lynch et les personnages faibles et troublés d’Hubert Selby Jr., les protagonistes d’Augenblick sont certes mal en point. Ils se retrouvent dans des situations à la fois absurdes et inquiétantes, tout en cherchant à se forger un semblant d’identité et d’appartenance.

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WWW.ANIMATIONFESTIVAL.CA

APPETITE FOR ANIMATION: THE SPAGHETTI INCIDENT? DE L’APPÉTIT POUR L’ANIMATION : L’AFFAIRE SPAGHETTI? By / Par Dominique Forget Appetite for Animation is a combination of two great things, one delicious and the other artistic: an exploration of the unique relationship between gastronomy and animation.

De l’appétit pour l’animation combine deux grandes choses, l’une délicieuse et l’autre artistique, en une exploration de la relation unique entre gastronomie et animation.

From fruit bowls as drawing models for art students, through impressionist painters such as Van Gogh and Paul Cézanne, to Picasso and Andy Warhol, food has always had a prominent place in art. Since food is essential to our existence it’s no wonder that fruit, veggies, meat, dairy and junkfood are popular sources of inspiration. With animation, food can either be captured or showcased as it is, or it can be embellished. Whereas film has the power and technology to capture many of the senses – sight stands out as the most obvious, with sound coming in as a close second, and then touch – animation can go beyond film in capturing the sense of taste. In animation, most specifically stop-motion, food can be brought to life; and food items can become characters of their own.

Depuis les bols de fruits utilisés comme modèles de dessin pour les étudiants des Beaux-Arts jusqu’aux œuvres de Picasso et d’Andy Warhol en passant par les peintres impressionnistes tels que Van Gogh et Gauguin, la nourriture a toujours occupé une place de premier plan en art. Et comme il est essentiel de se nourrir pour vivre, il ne faut pas s’étonner que les fruits, les légumes, la viande, les produits laitiers et la bouffe-minute soient une source d’inspiration populaire. Grâce à l’animation, la nourriture peut être captée ou montrée telle quelle, ou encore elle peut être embellie. Si le film a le pouvoir et la technologie nécessaires pour capter plusieurs des sens – la vue se distinguant comme le plus évident, le son arrivant bon deuxième, puis le toucher – l’animation peut aller au-delà du film pour saisir le sens du goût. En animation, plus spécifiquement avec la technique image par image, on peut donner vie à la nourriture, et les aliments peuvent devenir des personnages en soi.

First up is There’s a Party in my Tummy, which is much like the food being ingested here, so yummy! If you eat your vegetables you might get a visit from a big furry monster = party time. I hope you will all want to eat carrots after seeing this gem.

Food is fun. And when New York filmmaker PES gets to work (or play?), we are in for a real treat.

Western Spaghetti is a film that makes even post-it notes look delicious (a serious accomplishment!). PES is all about experimenting with 41

Tout d’abord, il y a There’s a Party in my Tummy, qui ressemble beaucoup à la nourriture si savoureuse qui est ingugitée ici ! Si vous mangez vos légumes, vous pourriez recevoir la visite d’un gros monstre poilu... et c’est la fête ! J’espère que vous voudrez toutes et tous manger vos carottes après avoir vu ce bijou de film.

WWW.ANIMATIONFESTIVAL.CA context by reworking objects that are familiar to all of us; for instance turning yarn into parmesan and pizza into Pac-Man. With PES, we expect the unexpected. It sounds clichéd and all, but it’s true – his films remind us that we often take the aesthetic value of the things we eat or use regularly for granted. PES’ work brings a certain sense of magic to the mundane. His films are not quite fantasy, but there is definitely something better than just plain old reality going on here – adding cupcakes to video games is genius! And, most importantly, he makes good use of candy corn (does anyone actually eat that stuff?).

Wendy Tilby’s and Amanda Forbis’ film When the Day Breaks touches on the often meditative and pleasant experiences of cooking, eating and buying groceries. When the Day Breaks is not primarily about food; let’s just say it’s a side dish here, and the entrée is about how these mundane activities are something we all share and have in common. It’s a way in which we are all connected.

The anthropomorphic pigs and chickens display how intimately attached we are to animals that we frequently rely on for food - and who need food just as we do.

Another interesting aspect of When the Day Breaks is how it encompasses the idea behind that clichéd saying “you are what you eat.” We see Ruby the pig, who seems like a jolly and dandy character, make herself a meal she looks forward to enjoying, whereas the grumpy-looking chicken prepares himself a very boring piece of toast, because he is as bland as his meal.

A fun fact about Peter Foldès’ 1974 short film Hunger is that it’s one of the first computer animated films ever made. This film focuses on a wealthy man whose riches bring him to fancy restaurants where he has the pleasure of being served by a scantily clad waitress. The man goes from being a handsome (or let’s assume so, it’s hard to tell given the medium), fabulously well-to-do fellow whose desires are consumed by eating. His pleasures turn into associations with food. His lust for the waitress shifts to lust for an ice cream cone – because, let`s face it, it’s easier to conquer food than people. Way to take the easy way out, guy.

La nourriture est amusante. Et lorsque le cinéaste new-yorkais PES se prend au jeu, il nous prépare un vrai régal. Western Spaghetti est un film où même les autocollants paraissent appétissants (une véritable prouesse !). PES expérimente en profondeur le contexte en retravaillant les objets qui nous sont familiers; par exemple, transformer du fil en fromage parmesan et de la pizza en Pac-Man. Avec PES, il faut s’attendre à l’inattendu; l’expression fait cliché, mais c’est vrai – ses films nous rappellent que nous tenons souvent pour acquise la valeur esthétique des choses que nous mangeons et utilisons régulièrement. L’œuvre de PES donne une certaine magie au banal. Ses films ne sont pas tout à fait du fantastique, mais il s’y passe certainement quelque chose qui dépasse la bonne vieille réalité ordinaire – ajouter des petits gâteaux glacés à des jeux vidéo tient du génie.

Et ce qui est plus important encore, c’est qu’il fait bon usage de bonbons en forme de grains de maïs (en mange-t-on vraiment, de ces trucs ?).

Le film de Wendy Tilby et Amanda Forbis When the Day Breaks traite des expériences plaisantes et souvent méditatives que sont faire la cuisine, manger et faire des courses. When the Day Breaks n’a pas pour thème principal la nourriture; disons simplement que c’est ici un amuse-gueule. Le plat principal est que, tous, nous avons en commun une certaine façon d’exécuter ces activités routinières, et que cela nous relie tous. Les cochons et poulets anthropomorphiques montrent à quel point nous sommes intimement liés aux animaux dont nous dépendons pour notre nourriture, et qui ont, tout comme nous, besoin de nourriture.

Un autre aspect intéressant de When the Day Breaks est la façon dont le film incorpore l’idée sous-jacente du dicton « vous êtes ce que vous mangez. » Nous voyons la cochonne Ruby, personnage bon vivant et élégant, préparer un repas qu’elle espère savourer, tandis qu’un poulet grognon se fait griller une très banale tranche de pain, parce qu’il est aussi fade que son repas.

Hunger is a cautionary tale about losing control of greed. By the end of the film the guy has become vulgar and grotesque; he obviously lost the battle against his urges to eat. But the fun doesn’t stop here! The film ends with the guy being eaten – and it’s not to say that he deserved this fate. But, as the film reminds us: food is not distributed evenly.

The man has been greedily devouring enough food to feed many people.

Payback’s a bitch.

Fait amusant, le court-métrage Hunger que Peter Foldès a réalisé en 1974 est un des premiers films d’animation produits sur ordinateur. Ce film se concentre sur un homme riche, dont les richesses l’amènent dans des restaurants huppés où il a le plaisir de se faire servir par une serveuse courtement vêtue. Au départ, l’homme est beau (du moins, on le suppose, c’est difficile à dire, vu le média) et fabuleusement riche, et il assouvit ses désirs en mangeant. Ses plaisirs deviennent des associations avec la nourriture. Son désir de la serveuse devient le désir d’un cornet de glace à la crème – parce que, avouons-le, il est plus facile de conquérir de la nourriture que des gens. Le type opte pour la solution facile, quoi.

Candy is a different sort of food. It’s a category all its own; most of it has no nutritional value – actually most of it is straight up bad for you, and it rots your teeth. But here we are, buying it in bulk

Hunger est un conte moral sur la perte du contrôle de la gourmandise. À la fin du film, le type est devenu vulgaire et grotesque, et donc il a perdu la bataille contre ses envies de manger. Mais le

OIAF 2011 FESTIVAL READER / FIAO 2011 LECTEUR DU FESTIVAL

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WWW.ANIMATIONFESTIVAL.CA and giving it out free to kids on spooky holidays.

This is why Candyjam is an excellent showcase of candy, with its bright colors, fun shapes and fancy packaging – literally, it looks good enough to eat.

As the film nears its conclusion however, we are left with an image of what a real candy fiend looks like... and there is hardly a face beneath all those zits. Candyjam deals with excess, specifically sweetness as a weakness. People either have a sweet tooth or they don’t, and those of us who do have a sweet tooth often make trips to the candy store or the vending machine.

Fouding or not Fouding (Youlia Rainous), is a film about playing with food, and the result is a kaleidoscopic view of fruits and vegetables dancing around in elegant fashion. The beauty of this film is its simplicity; the white background accentuates the freshness and crispness of the foods being utilized as the artistic centerpiece. Whether or not Rainous intended it to, Fouding or not Fouding acts almost as a commercial promoting healthy eating. While a few of the films in this program explore themes of excess and overeating, Fouding focuses on food that is not only good for you, but pretty too! While we’ve already discussed that candy is such a hit partially due to its fancy packaging, Rainous shows how lovely and clean healthy foods can be – and who doesn’t want to eat good looking food? Looking good is the point of food!

Jan Svankmajer’s Meat Love is another film that makes great use of stop-motion. This film presents us with two pieces of meat having a very shortlived love affair. It’s a super happy fun film: well, up until the point where the two pieces of meat get thrown into a frying pan. Meat Love suggests we take food for granted. Pieces of meat could very well be romancing one another while our backs are turned. We don’t always know what’s going on, in or out of the kitchen, and food isn’t around just for our benefit and enjoyment.

Devour Dinner by Japanese animator Mirai Mizue, depicts a variety of cells, sea creatures, and other critters either eating or being eaten. The film is about ten minutes in length, and what I’ve just described is the content in its entirety; but hey, sometimes you eat the bear and sometimes the bear eats you. With all of these creatures eating, or (sometimes) being unexpectedly eaten, Mizue demonstrates how, realistically - eating needs to happen, and so it does. With his focus on this variety of creatures Mizue gets straight to the point – eating is being done by everything, not just everyone; and it’s always, incessantly, happening. Devour Dinner is also remarkable for its use of sound design - the fish being gobbled up from the water, the sheep scared of the jaws awaiting… I’m sure there was some real burping going on in that studio, it just sounds too real to not be true!

Commercials, often overlooked and ignored in the art world, frequently straddle the line between 43

plaisir ne s’arrête pas là ! À la fin du film, le type se fait manger – cela ne revient pas à dire qu’il a mérité son sort, mais comme le film nous le rappelle: la nourriture n’est pas distribuée également.

L’homme qui a dévoré assez de nourriture peut à son tour nourrir plusieurs personnes. La vengeance est un plat qui se mange froid.

Les bonbons sont un autre genre de nourriture; c’est une catégorie en soi – la plupart des bonbons n’ont aucune valeur nutritive, en fait la plupart sont mauvais pour votre santé, et ils vous pourrissent les dents; mais nous voici à les acheter en vrac et à les distribuer gratis aux enfants lors des fêtes qui donnent la chair de poule. Voilà pourquoi Candyjam est une excellente vitrine de bonbons, avec ses couleurs vives, ses formes amusantes et ses emballages fantaisistes – le film a littéralement l’air bon à croquer. Toutefois, alors que le film tire à sa fin, on nous laisse sur une image de ce qu’est un véritable fana de bonbons... et il y a à peine un visage sous tous ces boutons. Candyjam traite des excès, en particulier des douceurs qui sont nos faiblesses. Certains aiment les sucreries et d’autres pas, mais ceux d’entre nous qui les aimons allons souvent à la confiserie ou à la machine distributrice.

Fouding or not Fouding (Youlia Rainous) est un film sur le jeu avec les aliments, et le résultat est une vue kaléidoscopique de fruits et légumes qui dansent de manière élégante. La beauté de ce film est sa simplicité; le fond blanc accentue la fraîcheur et la fermeté des aliments utilisés comme principale pièce artistique. Que Rainous l’ait voulu ou non, Fouding or not Fouding agit presque comme une annonce faisant la promotion d’une alimentation saine. Bien que quelques-uns des films de ce programme explorent les thèmes de l’excès et de la suralimentation, Fouding est axé sur une nourriture qui est non seulement bonne pour vous, mais aussi joliment présentée ! Bien que nous ayons déjà discuté de l’influence de l’emballage sur la popularité des bonbons, Rainous nous montre à quel point les aliments sains peuvent être jolis et propres – et qui ne voudrait pas manger des aliments plaisants à regarder ? Les aliments doivent justement avoir belle apparence !

Le Meat Love de Jan Svankmajer est un autre film qui fait grand usage de la technique image par image. Ce film nous présente deux morceaux de viande qui vivent une très brève aventure amoureuse. C’est un film extrêmement joyeux, eh ben... jusqu’au moment où les deux morceaux de viande sont jetés dans une poêle à frire. Meat Love donne à penser que nous tenons la nourriture pour acquise. Les morceaux de viande pourraient très bien se conter fleurette pendant que nous avons le dos tourné. Nous ne savons pas toujours ce qui se passe, dans la cuisine ou ailleurs, et la nourriture n’a pas pour seules fonctions de nous combler et de nous réjouir.

WWW.ANIMATIONFESTIVAL.CA APPETITE FOR ANIMATION Thursday, September 22, 3:00 pm (National Gallery) Friday, September 23, 9:15 pm (National Gallery) Saturday, September 24, 5:00 pm (National Gallery) YO GABBA GABBA! ‘PARTY IN MY TUMMY’ (2007) PARKER JACOBS | USA | 2:17 | DIGITAL

WESTERN SPAGHETTI (2009) PES | USA | 1:42 | DIGITAL

WHEN THE DAY BREAKS (1999) WENDY TILBY & AMANDA FORBIS | CANADA | 9:27 | 35MM | CANADA

HUNGER (1974) PETER FOLDES | CANADA | 11:22 | 35MM

THE FOOD MISTER (1994) NEIL MICHKA | USA | 3:18 | DIGITAL

THE CAKE (1997) DANIEL ŠULJIC | CROATIA | 7:55 | 35MM

CANDYJAM (1988) JOANNA PRIESTLEY | USA | 6:52 | 16MM

FOUDING OR NOT FOUDING (2008) YOULIA RAINOUS | FRANCE | 5:00 | DIGITAL

MEAT LOVE (1989) JAN SVANKMAJER | CZECH REPUBLIC | 1:07 | DIGITAL

DEVOUR DINNER (2008) MIRAI MIZUE | JAPAN | 9:50 | DIGITAL

EGG (2011) JANET PERLMAN | CANADA | :57 | DIGITAL

GAME OVER (2008) PES | USA | 1:37 | DIGITAL

commerce and art. Advertising allows for – and requires – creativity to jazz up an unsexy product (e.g. car insurance, eggplants, diapers) and make it appeal to consumers. Animation is an ideal medium for adding pizazz to a product. With animation, bananas sing and dance, and kangaroos eat cookies dipped in chocolate. Using animation, a product is given a makeover, a chance to appear much more exciting – that’s the objective, trying to sell stuff, and to do this you have to make ordinary things seem less ordinary (or lame). Seeing people pig out won’t attract anyone or help sell anything. Who wants a plain old bowl of cereal when you can have cereal that was stolen from a rabbit, or endorsed by a charismatic tiger?

Devour Dinner, par l’animateur japonais Mirai Mizue, décrit une variété de cellules, de créatures marines et autres animaux qui mangent ou se font manger. Le film dure environ dix minutes, et ce que je viens de décrire en résume tout le contenu; mais voilà, parfois vous mangez l’ours, et parfois c’est l’ours qui vous mange. À l’aide de toutes ces créatures qui mangent ou se font manger, (parfois) inopinément, Mizue démontre comment, de façon réaliste, – manger est une nécessité, et donc, on mange. Devour Dinner se distingue aussi par son utilisation de différents motifs sonores – le poisson dégluti hors de l’eau, le mouton apeuré par les mâchoires qui attendent... On a certainement émis de vrais rots dans ce studio, cela sonne trop réel pour ne pas être vrai !

Les pubs, souvent négligées et ignorées dans le monde artistique, se situent parfois à la limite du commerce et de l’art. La publicité laisse libre cours à la créativité – et elle en requiert – pour qu’elle puisse égayer un produit peu intéressant (par ex., l’assurance auto, des aubergines, des couches) et le rendre attrayant aux yeux des consommateurs.

L’animation est un média idéal pour ajouter du panache à un produit. Au moyen de l’animation, les bananes chantent et dansent, et les kangourous mangent des biscuits trempés dans du chocolat.

Grâce à l’animation, un produit est transformé, ce qui lui donne une chance de paraître beaucoup plus emballant – essayer de vendre des trucs est justement l’objectif, et pour y arriver vous devez rendre des choses ordinaires moins ordinaires (ou ennuyeuses). Voir des gens s’empiffrer n’attirera personne et n’aidera pas à vendre quoi que ce soit.

Qui veut d’un bol de céréales bien ordinaire quand vous pouvez avoir des céréales qui ont été volées à un lapin ou approuvées par un tigre charismatique ?

Alors, pour remballer le sujet (et pas dans du cellophane), les aliments sont bons à manger, ils sont agréables à regarder, qu’ils soient animés ou non, et en général les gens prennent plaisir à manger.

La nourriture rassemble les gens. Alors, bienvenue, mettez-vous à table et profitez de ce festin de l’animation.

Merci ! La partie est terminée. C’est la faim.

Alright... so to wrap things up (and not in cellophane), food is good to eat, it’s nice to look at, whether it’s animated or not, and generally people enjoy eating. Food brings people together. So welcome, grab a seat, and please enjoy this animation feast.

Thank you! Game Over. La faim.

OIAF 2011 FESTIVAL READER / FIAO 2011 LECTEUR DU FESTIVAL

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DON’T STOP: ANIMATING HIP HOP N’ARRÊTEZ PAS D’ANIMER LE HIP-HOP By / Par Matt Rosen “Dirt McGirt comes from Dirt McGirt Island. It’s a place that’s right off the block from the next island off of Batman Island. I can’t let you know exactly where it is – it’s a secret, you know? Wonder Woman told me not to say nothing.”

« Dirt McGirt vient de l’île Dirt McGirt. Cet endroit est juste après le pâté de maisons à partir de l’île qui vient après l’île Batman. Je ne peux pas vous expliquer exactement où c’est – c’est un secret, vous comprenez ?

Wonder Woman m’a dit de ne rien dire.»

- ODB (aka Dirt McGirt)

- ODB (alias Dirt McGirt)

It’s not easy having an alter ego. Besides wearing an extra layer of spandex under your tweed suit, that is. We spend enough psychological energy living one life; only a special kind of person would sign up for two. Rock stars, super heroes, professional wrestlers. You probably have to be a little unbalanced to voluntarily construct multiple personalities for yourself, to embrace that condition of scattered over-stimulation.

Ce n’est pas facile d’avoir un alter ego. À part porter une épaisseur de vêtements en élasthanne sous son habit de tweed. Nous dépensons assez d’énergie à vivre une vie; seule une certaine catégorie de personne s’engagerait pour deux.

Les vedettes du rock, les superhéros, les lutteurs professionnels. Vous devez probablement être un peu déséquilibré pour vous construire volontairement des personnalités multiples, pour embrasser cet état de surstimulation éparpillée.

But for any of us born in a post-modern urban soup – any of us who grew up in a flurry of media stimulation, a lifelong (cross)cultural electrical storm – for us, that kind of psychological fracturing and reconstruction might be the only kind of identity-making we know. Grab our parents’ old records, your big brother’s comic books, your cousin’s 16-bit game console, your uncle’s VHS collection of 70s sci-fi – slice it all up, layer it, rearrange it, and you’ve got one version of who you might be. Take those same bits, adjust the pitch and the timing, change the context... and you become another you altogether.

The late 20th century came up with a word for this kind of slicing and repurposing – sampling.

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Mais pour nous qui sommes nés dans une soupe urbaine postmoderne – n’importe qui d’entre nous qui sommes nés dans un tourbillon de stimulations médiatiques, dans un orage transculturel permanent – pour nous, il se pourrait bien que ce genre de fracturation et de reconstruction psychologiques soit le seul genre de construction d’identité que nous connaissions. Vous attrapez les vieux disques de vos parents, les bandes dessinées du frère aîné, la console de jeux 16-bit du cousin, la collection de VHS de science-fiction des années 1970 de votre oncle – vous les coupez, étagez, réarrangez, et vous avez une version de qui vous pourriez être.

WWW.ANIMATIONFESTIVAL.CA And no cultural or aesthetic form has been more explicitly and honestly founded on sampling than hip hop. As a hip hop producer, I might do all this quite literally. I might take my parents old Coltrane records, layer them with SNES sound effects, and insert dialogue from my uncle’s worn-out copy of Tron that he taped when it aired on CJOH-TV in 1986. While my selections and sampling style might be idiosyncratic or unique to me, the process itself is fundamental to the way that hip hop culture is (and has always been) made. When we work this way, we build the past into the present.

In a very literal and visible way, hip hop artists weave their influences right into the fabric of their creative process. It’s no wonder, then, that artists who grew up in the 1970s and 1980s will always call back to the icons of their childhood in those eras. If you were a kid reading Marvel Comics and watching Saturday morning cartoons, you might grow up to become Kool Keith, who sometimes raps about space-travel under the alias Doctor Octagon. Or you might grow up to wear an ominous metal mask onstage and call yourself MF Doom.

Then again, you might call yourself Ghostface Killah (aka Iron Man, aka Tony Stark) and release a music video made up entirely of appropriated footage from the TV show Speed Racer. It’s all fair game.

Not only do the animated and illustrated icons of childhood allow hip hop to create and re-create itself, but the crate-digging style of hip hop production also gives visual artists new material from which to draw. Montreal DJ Kid Koala, known not just for his eccentric scratch records but also for his albums’ comic strip liner notes, has often collaborated with animator Monkmus to bring his sounds to life on-screen. When Kid Koala throws animal noises on his turntables and moulds them into a conversational exchange of warbling jibberish in the track ‘Fender Bender,’ Monkmus envisions a street corner lined with thirty-foot tall daisies, and an argument between two well dressed gentlemen, one wearing an oil lamp for a hat while the other carries a large, wind-up telephone. Only the imagination of an animator could do justice to the wordless eloquence of a scratch DJ. Of course, the spoken word might be the most recognizable element of hip hop culture, and there is no denying the power of moving images to bring the spoken word to life. Not only can lyrical content be played out visually, but even the very building blocks of verbal speed, complexity, and delivery can be emphasized. It might be something as simple as a single verse flashing across the screen to show off Ludacris’ doubletime delivery in the video ‘Roll Out.’ Or it might be the elaborate, technical lyrical flow of Mos Def’s ‘Casa Bey’ being transformed into syllabic dots and dashes that leap from his mouth, gradually accumulating and growing into individual phonemes, until eventually full words and verses fill the screen.

Reprenez ces mêmes éléments, ajustez la tonalité et le rythme, changez le contexte... et vous êtes devenu tout à fait un autre.

La fin du 20e siècle a inventé un mot pour ce genre de découpage et de réhabilitation – l’échantillonnage. Et aucune forme culturelle ou esthétique n’a été plus explicitement et honnêtement basée sur l’échantillonnage que le hip-hop.

En tant que producteur de hip-hop, je pourrais faire tout cela presque littéralement. Je pourrais prendre les vieux disques de Coltrane de mes parents, ajouter une couche d’effets sonores d’une console Super Nintendo et insérer un dialogue de la copie tout usée de Tron de mon oncle, qu’il a enregistrée quand CJOH-TV a diffusé le film en 1986. Bien que mes sélections et mon style d’échantillonnage puissent être personels, la démarche même est le fondement de la façon dont la culture hip-hop se fait (et s’est toujours faite).

Quand nous travaillons de cette façon, nous construisons le passé dans le présent.

D’une façon très littérale et très visible, les artistes hip-hop tissent leurs influences dans leur démarche créatrive. Il ne faut donc pas se surprendre que les artistes qui ont été élevés dans les années 1970 et 1980 ramènent toujours les icônes de leur enfance à ces époques. Si enfant vous lisiez des bandes dessinées Marvel et regardiez les dessins animés du samedi matin, vous pourriez en grandissant devenir Kool Keith, qui rappe parfois à propos de voyages dans l’espace sous le pseudonyme de Doctor Octagon. Ou vous pourriez, une fois grand, porter sur scène un masque de métal menaçant et vous appeler MF Doom. Ou encore, vous pourriez avoir pour nom Ghostface Killah (alias Iron Man, alias Tony Stark) et publier une vidéo de musique faite entièrement de séquences tirées de l’émission de télé Speed Racer. Tout est permis.

Non seulement les icônes animées et illustrées de l’enfance permettent-ils au hip-hop de se créer et de se recréer, mais le style de « furetage-forage » de la production hip-hop donne aussi aux artistes visuels du nouveau matériel où ils peuvent aller puiser. Le DJ montréalais Kid Koala, connu non seulement pour son « scratching » excentrique de disques, mais aussi pour ses notes dans la marge de ses albums de bandes dessinées, a souvent collaboré avec l’animateur Monkmus pour donner vie à ses sons à l’écran. Quand Kid Koala lance des bruits d’animaux sur ses tables tournantes et les moule en une conversation de charabias gazouillants sur la piste « Fender Bender », Monkmus voit un coin de rue avec des marguerites de 30 pieds de haut, et une discussion entre deux messieurspropres sur eux, l’un ayant pour chapeau une lampe à pétrole tandis que l’autre porte un gros téléphone mécanique. Seule l’imagination d’un animateur peut rendre justice à l’éloquence silencieuse d’un DJ « scratcheur ».

OIAF 2011 FESTIVAL READER / FIAO 2011 LECTEUR DU FESTIVAL

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WWW.ANIMATIONFESTIVAL.CA DON’T STOP: ANIMATING HIP HOP Thursday, September 22, 9:15 pm (Empire Theatres Rideau Centre) Friday, September 23, 7:00 pm (Empire Theatres Rideau Centre) Sunday, September 25, 1:00 pm (Arts Court Theatre) FLYING LOTUS ‘ZODIAC SH*T’ (2010) ADAM FUCHS | USA | 1:31 | DIGITAL IRON MAN ‘OPENING THEME’ (1966) USA | 0:30 | DIGITAL GHOSTFACE KILLAH ‘DAYTONA 500’ (1996) USA | 4:04 | DIGITAL MADVILLAIN ‘ALL CAPS’ (2006) JAMES REITANO | USA | 2:15 | DIGITAL BIZ MARKIE ‘LA DA DA’ (2000) JAMES REITANO | USA | 2:50 | DIGITAL KID KOALA ‘FENDER BENDER’ (2000) MONKMUS | CANADA & UK | 1:52 | DIGITAL THE BOONDOCKS ‘THE STORY OF GANGSTALICIOUS, PART 2’ (2007) DAN FAUSETT | USA | 22:00 | DIGITAL MOS DEF ‘CASA BEY’ (2009) JAMES ROBERSON | USA | 4:00 | DIGITAL

Il est difficile d’expliquer ce que c’est qu’être riche et célèbre et d’être un voyou. Une façon de le faire est de penser à un superhéros. Quelqu’un qui a des pouvoirs particuliers, une double identité, peut-être une ou deux faiblesses secrètes. »

J DILLA ‘GEEKDOWN’ (2010) STEVE SMITH | USA | 1:11 | DIGITAL

- The RZA, The Tao of Wu

SPACE GHOST COAST TO COAST ‘FLIPMODE’ (1999) WILLIAMS STREET | USA | 11:02 | DIGITAL

Lorsque vous vous construisez un alter ego, bien qu’il puisse être libérateur de parler avec une nouvelle voix, les choses peuvent changer une fois que cette voix est entendue. Une fois que les gens écoutent, et qu’ils le font au sein d’une culture qui (comme toutes les cultures) a son histoire et ses préjugés propres, vous avez soudain à répondre à des attentes. Pour certains, cela signifie que des sujets deviennent désormais intouchables.

Les questions de race, de classe, de genre et de sexualité deviennent souvent des tabous virtuels dans le courant dominant du hip-hop. Si vous voulez en parler, vous aurez besoin d’une autre personnalité, et les bandes dessinées et les dessins animés peuvent justement vous en procurer une.

Il n’y a pas meilleur exemple de ce phénomène que The Boondocks. Cette série télé créée par l’animateur américain Aaron McGruder est basée sur une bande dessinée d’agence et a exploré tous les sujets de controverse possibles relatifs à la race aux États-Unis. Relativement au hip-hop, McGruder et son équipe n’hésitent pas à remettre en question le statu quo – depuis la formulation d’une critique sur la programmation du Black Entertainment Television jusqu’à la remise en question de l’infamie qui s’attache aux Blancs utilisant le mot N****.

ESKMO ‘WE GOT MORE’ (2010) CYRIAK | USA & UK | 2:38 | DIGITAL DIBIASE ‘SKULLCRACK’ (2010) ANTHONY CIANNAMEA | USA | 3:25 | DIGITAL SHAD ‘WE, MYSELF & I’ (2010) CHRISTOPHER MILLS | CANADA | 3:40 | DIGITAL Programming subject to change.

It is these elements that make up an emcee’s flow – and the living, moving word shows clearly that the term ‘flow’ is not just arbitrary slang.

“It’s hard to explain what it’s like to be rich, famous and from the hood. One way is to think of a superhero.

Someone who has special powers, a double identity, maybe a secret weakness or two.”

- The RZA, The Tao of Wu

When you build yourself an alter ego, while it might be liberating to speak with a new voice, things can change once that voice is heard. Once people are listening, and doing so within a culture which (like any) has its own baggage and prejudices, suddenly you have expectations to live up to. For some, this means certain topics become off-limits. Issues of race, class, gender, and sexuality often become virtually taboo in mainstream hip hop. If you want to talk about these things, you’re going to need another persona, and cartoons and comic books can give you just that. There is 47

Bien sûr, la langue parlée pourrait être l’élément le plus reconnaissable de la culture hip-hop, et on ne peut nier le pouvoir qu’ont les images en mouvement pour donner vie à la langue parlée. Non seulement le contenu lyrique peut-il être joué à l’écran, mais même les composantes de la vitesse, de la complexité et de l’élocution peuvent être accentuées. Ce peut être quelque chose d’aussi simple qu’un vers qui clignote sur l’écran pour montrer l’élocution deux fois plus rapide de Ludacris dans le vidéo « Roll Out ». Ou bien ce peut être le flux technique lyrique et élaboré du « Casa Bey » de Mos Def, qui est transformé en points et lignes syllabiques qui sautent de sa bouche, s’accumulent graduellement et deviennent des phonèmes individuels, jusqu’à ce que l’écran s’emplisse de mots, et de strophes complètes. Ce sont ces éléments-là qui composent le flux d’un MC – et le mot vivant, mouvant, montre clairement que le terme « flux » n’a pas été choisi au hasard dans la langue populaire.

L’homophobie est une des questions les plus épineuses que l’émission ait abordée, ainsi que la politique « ne le demandez pas / ne le dites pas », qui demeure en vigueur dans la plus grande partie du courant dominant du hip-hop. L’émission a exploré cette question pendant ses deux premières saisons par le biais de l’histoire d’un rappeur fictif

WWW.ANIMATIONFESTIVAL.CA no better example of this phenomenon than The Boondocks, created by American cartoonist Aaron McGruder. Based on his syndicated comic strip, this television series has explored every conceivable topic of controversy surrounding race in America. When it comes to hip hop, McGruder and his team don’t hesitate to challenge the status quo – from criticizing programming on BET to challenging the stigma of white folks using a certain N-word.

Perhaps one of the stickiest issues that the show has broached is that of homophobia, and the Don’t-Ask-Don’t-Tell policy that remains in effect in much of mainstream hip hop. It’s an issue that the show explores over the first two seasons through the story of a fictional closeted rapper named Gangstalicious as he wrestles with his fear of being outed and ostracized. What is most stunning about this multi-episode arc isn’t so much the storyline itself (though it is brilliant and biting), but the roster of high-profile rappers who McGruber is able to enlist to play out the drama.

It might come as no surprise that Mos Def would take part in a conscious social commentary like this, but to find Busta Rhymes, Snoop Dogg, Nate Dogg, and Xzibit starring in a revealing critique of sexuality in the hip hop industry is something worth noting. These guys aren’t what most would call conscious rappers – on their own records, they’ve all been known to throw a certain F-word around. Busta Rhymes even walked out of an interview when asked about homophobia in rap. But the cartoon world of The Boondocks allows these icons to participate in a discussion they might not otherwise touch.

If you’re reading this, chances are you already have some idea of the power of the animated image. Something about an image coming to life allows us to transport and re-imagine ourselves in ways that other aesthetic forms just can’t equal.

What is most remarkable about the way this phenomenon has played out in the hip hop world is just how much this re-imagining has influenced the very fabric of the culture. When a turntablist cuts slide whistle sound effects into an off-kilter beat, he is using the language of Looney Tunes inside the language of scratch. When a graff artist paints a mural on the side of a train, she is using the language of typography inside the language of tagging. When an emcee dons an aluminum mask during a night-club performance, he’s using the language of Marvel Comics inside the language of rap.

dénommé Gangstalicious, qui n’est pas encore sorti « du placard » et qui se débat avec sa peur d’être découvert et ostracisé. Le plus renversant à propos de cette série d’épisodes n’est pas tant l’histoire elle-même (bien qu’elle soit brillante et mordante), mais la brochette de rappeurs connus que McGruber a pu recruter pour jouer ce drame.

Il ne surprendra sans doute personne que Mos Def ait participé à un tel commentaire social conscient, mais d’y retrouver Busta Rhymes, Snoop Dogg, Nate Dogg et Xzibit comme vedettes d’une critique révélatrice de la sexualité dans l’industrie du hip-hop vaut la peine d’être noté. Ces typeslà ne sont pas ce que la plupart des gens appelleraient des rappeurs conscients – sur leurs propres disques, ils ont tous utilisé le mot F******.

Busta Rhymes a même quitter une entrevue lorsqu’il a été demandé une question au sujet de l’homophobie dans la musique rap. Mais le monde du dessin animé de The Boondocks permet à ces icônes de participer à une discussion sur un sujet qu’ils n’aborderaient pas autrement.

Si vous lisez ceci, il y a des chances que vous ayez déjà une certaine idée du pouvoir de l’image animée. Il y a dans une image qui prend vie quelque chose qui nous permet de nous transporter et de nous réinventer par des moyens que les autres formes esthétiques ne peuvent tout simplement pas égaler. Ce qu’il y a de plus remarquable dans la façon dont ce phénomène a joué dans le monde du hip-hop, c’est l’influence que cette réinvention a eue sur le tissu même de la culture. Quand un DJ introduit des effets de flûte à coulisse dans un rythme déjanté, il utilise le langage des Looney Tunes dans le langage du « scratching ». Quand une artiste graphiiste peint une oeuvre murale sur le côté d’un train, elle utilise le langage de la typographie dans le langage du « tagging ». Quand un MC porte un masque en aluminium au cours d’un spectacle de boîte de nuit, il utilise le langage des bandes dessinées Marvel dans le langage du rap.

Tout est échantillonnage. Échantillonnez tout.

Everything is a sample. Sample everything.

OIAF 2010 FESTIVAL READER / FIAO 2010 LECTEUR DU FESTIVAL

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TEN REASONS TO LOVE ANIMATION DIX RAISONS D’AIMER LE FILM D’ANIMATION By / Par David Verrall There are many, many reasons to love animation, but ten seemed a reasonable number for one sitting.

Il y a mille et une raisons d’aimer le film d’animation, mais il semble raisonnable de n’en citer que dix en une seule séance.

It was seventy years ago this fall that Norman McLaren set up shop in a corner of the National Film Board, then located in Ottawa, and initiated an animation studio. I have enjoyed the challenge and the exhilaration of working in animation at the NFB for almost exactly half that time. So, my first thought was to draw on the rich NFB animation collection assembled over those years, including some renowned and some lesser-known titles from the catalogue.

Il y a soixante-dix ans cet automne, Norman McLaren s’est installé dans un coin de l’Office national du film, alors situé à Ottawa, et a lancé un studio d’animation. J’ai aimé les défis et l’euphorie de travailler à l’ONF pendant presque exactement la moitié de ce temps. J’ai donc eu d’abord l’idée de puiser dans la riche collection de films d’animation rassemblés à l’ONF au cours de ces années, y compris des titres renommés et moins connus du catalogue.

Instead, I opted this time to look outside the NFB to choose a selection of titles that had impressed me when I first experienced them and that had stuck with me over the years. This is not an attempt to curate an anthology representative of theme or technique or era. It is simply a personal sampling from a longer list of animation titles that I have enjoyed. This, it seems to me, is in keeping with the spirit of OIAF, a place I go to meet creators and to experience works I otherwise might miss.

Mais cette fois, j’ai choisi de regarder à l’extérieur de l’ONF pour sélectionner des titres qui m’ont impressionnés la première fois que je les ai vus et qui me sont restés en tête au fil des ans. Il ne faut pas y voir une tentative d’anthologie autour d’un thème, d’une technique ou d’une époque. C’est simplement un échantillon personnel d’une plus longue liste de films d’animation que j’ai aimé. Il me semble que cette démarche est dans l’esprit du FIAO, un endroit où je vais pour rencontrer des créateurs et découvrir des œuvres que je risquerais de manquer autrement.

In the end there are eleven not ten and, yes, one of them is a McLaren NFB title.

Animation is a versatile and expressive art form. It is efficient and it is personal.

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En bout de ligne, il y en a onze et non pas dix, et... oui, l’un d’entre eux est un titre que McLaren a réalisé à l’ONF.

WWW.ANIMATIONFESTIVAL.CA Animation as shorthand is not a summary - it is a concentrated, direct depiction of story or idea, unencumbered by extraneous details of reality.

Many of these titles trek bravely into the territory of relationships: exploring how we intersect and transact, how we influence each other, take each other for granted, treat each other carelessly, miss each other, care about each other. They explore how we ascribe meaning. They posit the improbable and wander to unimagined places.

The graphic metaphors of Balance and Un jour, the epic stories of Crac! and Father and Daughter, the visceral celebration of Begone Dull Care, indeed, each of the titles in this program has, for me, something eloquent to say.

10 REASONS TO LOVE ANIMATION Friday, September 23, 7:00 pm (National Gallery) Saturday, September 24, 5:00 pm (ByTowne Cinema) BEGONE DULL CARE (1949) NORMAN MCLAREN | CANADA | 8:00 | 35MM BAMBI MEETS GODZILLA (1969) MARV NEWLAND | CANADA | 2:00 | 35MM CRAC! (1981) FREDERIC BACK | CANADA | 15:00 | DIGITAL LUXO JR. (1986) JOHN LASSTER | USA | 2:30 | 35MM BALANCE (1989) CHRISTOPH LAUENSTEIN, WOLFGANG LAUENSTEIN | GERMANY | 7:00 | DIGITAL MY FAVOURITE THINGS THAT I LOVE (1994) JANET PERLMAN | CANADA | 4:00 | 35MM UN JOUR (2009) MARIE PACCOU | FRANCE | 17:00 | 35MM ONE DAY A MAN BOUGHT A HOUSE (1998) PJOTR SAPEGIN | NORWAY | 7:00 | 35MM DOG (2001) SUZIE TEMPLETON | UK | 6:00 | 35MM FATHER AND DAUGHTER (2001) MICHAEL DUDOK DE WIT | NETHERLANDS | 8:00 | 35MM AT THE QUINTE HOTEL (2005) BRUCE ALCOCK | CANADA | 3:38 | 35MM

Joy: Begone Dull Care Inspired by the at times exuberant and at times pensive Oscar Peterson music, this synæsthesthetic synthesis is crafted frame by frame directly on film by masters Norman McLaren and Evelyn Lambart and, simply, the results evoke joy.

Irreverence: Bambi Meets Godzilla Marv Newland delivers the unexpected and frames it with a self-referential nod to the solitary art of animation creation.

Le film d’animation est une forme artistique polyvalente et expressive. Il est efficace et il est personnel. L’animation en tant que sténographie n’est pas un résumé –– c’est une représentation concentrée et directe d’une histoire ou d’une idée, qui est désencombrée des détails superflus de la réalité.

Plusieurs de ces titres s’aventurent bravement sur le territoire des relations, à explorer nos interactions et nos transactions, comment nous nous influençons, comment nous nous tenons pour acquis, comment nous nous négligeons, à quel point l’autre nous manque, comment nous prenons soin l’un de l’autre. Ils explorent comment nous assignons du sens. Ils postulent l’improbable et se promènent dans des lieux non imaginés.

Les métaphores graphiques de Balance et de Un jour, les épopées Crac ! et Father and Daughter, la célébration viscérale de Begone Dull Care : en effet, chacun des titres de ce programme a, pour moi, quelque chose d’éloquent à dire.

Joie: Begone Dull Care Inspirée par la musique parfois exubérante et parfois pensive d’Oscar Peterson, cette synesthésie est créée image par image directement sur la pellicule par les maîtres Norman McLaren et Evelyn Lambart, et les résultats évoquent tout simplement la joie.

Irréverence: Bambi Meets Godzilla Marv Newland livre l’inattendu et l’encadre d’un hochement de tête auto-référentiel à l’art solitaire qu’est la création d’un film d’animation.

Appartenance: Crac!

Frederic Back nous entraîne dans un voyage épique dans le temps, et grave des notions de racines, de famille et de communauté tout en nous rappelant les risques d’un trop grand zèle à apporter des changements au nom du progrès.

Anthropomorphisme: Luxo Jr. Les appareils générés par ordinateur de John Lasseter font des cabrioles et échangent en ayant des attributs clairement humains, ce qui, à l’époque, a fait taire la sagesse traditionnelle voulant que l’animation générée par ordinateur soit nécessairement robotique.

Conséquence: Balance Christoph & Wolfgang Lauenstein exploitent une élégante métaphore d’une simplicité trompeuse pour décrire un monde coopératif que la jalousie et l’égoïsme ont détraqué.

Excentricité: My Favorite Things that I Love Janet Perlman révèle une célébration personnelle qu’il est malaisé de partager; plus précisément, elle nous y expose. Mais, du point de vue cinématographique, cette célébration nous transporte à coup sûr dans un lieu où nous ne serions pas autrement.

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WWW.ANIMATIONFESTIVAL.CA Belonging: Crac!

Frederic Back takes us on an epic journey through time, etching notions of roots, family and community while reminding us about the risks of overzealous subscription to change in the name of progress.

Anthropomorphism: Luxo Jr. John Lasseter’s computer-generated appliances cavort and transact with clearly human attributes, putting to rest the conventional wisdom of the time that CG animation is necessarily robotic.

Possibilités: One Day a Man Bought a House La spirituelle parabole de l’improbable que nous propose Pjotr Sapegin nous rappelle que nous sommes tous sujets à mal interpréter les autres, car notre objectivité est embrouillée par des certitudes, des suppositions et des préjugés.

Consequence: Balance Christoph & Wolfgang Lauenstein exploit an elegant, deceptively simple metaphor to describe a cooperative world thrown awry by jealousy and selfishness.

Adaptation: Dog Suzie Templeton dévoile, de façon économique et habile, l’histoire lancinante d’un père et d’un fils aux prises avec une expérience extraordinairement difficile.

Eccentricity: My Favorite Things that I Love Janet Perlman reveals, or perhaps more accurately exposes us to, a personal celebration uneasily shared but that, cinematically, certainly takes us someplace we would not otherwise be.

Aspiration: Father and Daughter Michael Dudok de Wit explore l’espoir, les aspirations et le dévouement dans une peinture lyrique des cycles de la vie.

Insight: Un jour Marie Paccou’s iconic representation of intimate relationships illuminates with deep understanding and leaves us with an indelible, evocative image.

Possibilities: One Day a Man Bought a House Pjotr Sapegin’s witty parable of the improbable reminds us we are all prone to misinterpreting others, our objectivity clouded by convictions, assumptions and prejudices.

Coping: Dog Suzie Templeton unfolds, economically and skilfully, a haunting story of father and son dealing with an overwhelmingly difficult experience.

Longing: Father and Daughter Michael Dudok de Wit explores hope, yearning, and devotion in a lyrical depiction of the cycles of life.

Perspective: At the Quinte Hotel Bruce Alcock complements Al Purdy’s recitation of his own poem in a duet more than an accompanied solo.

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Compréhension: Un jour La représentation emblématique de Marie Paccou mène à une compréhension profonde et lumineuse des relations intimes et nous laisse une image évocatrice indélébile.

Perspective: At the Quinte Hotel Bruce Alcock complète, sous la forme d’un duo plutôt que d’un solo accompagné. la récitation par Al Purdy de son propre poème.

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SURFACE TENSION: THE ANIMATION ART OF MATI KÜTT SURFACE SOUS TENSION : L’ART DE L’ANIMATION DE MATI KÜTT By / Par Tom McSorley Born in 1947, Mati Kütt was raised in post-World War II Soviet-occupied Estonia, a small nation all too familiar with occupation. Throughout its history it has been occupied, trampled underfoot, dominated, or visited upon by many, many others: Danes, Swedes, Germans and, especially, Russians.

In the aftermath of the Cold War and Estonia’s renewed independence in the early 1990s, Kütt and his contemporaries emerged as world leaders in animation artistry. This post-communist era rise of an independent Estonia provides, in one sense, a literal and metaphorical backdrop to his fascination for getting beneath the external appearances of reality to explore, among other things, a possible poetry of the imagination and those vast cartographies of the human unconscious. His work also probes the idea of the image itself as a surface, and how the very creation of such a surface as an animator is, paradoxically, actually about exploring and expressing what lies beneath, above, or alongside it. The surface is only the beginning.

Employing cut-out, puppet, paint, scratch, drawn, pixilation, and computer animation techniques, Kütt mixes media promiscuously and constantly in his work, creating beguiling, vivid, haunting, and mysterious surfaces.

Also an accomplished painter, Mati Kütt began his animation career in 1981 with Monument, a quasi-Sisyphean tale of a man tasked with carrying unwieldy monuments to where they are to be displayed. After some years working as an animation artist on other Estonian films, he developed his own oeuvre in the late 1980s. With a lugubri-

Né en 1947, Mati Kütt a été élevé pendant la période qui a suivi la Deuxième Guerre mondiale dans une Estonie occupée par les Soviétiques. La petite nation qu’est l’Estonie n’est pas étrangère à l’occupation; au cours de son histoire, elle a été occupée, foulée au pied, dominée ou visitée par de nombreuses autres nations : les Danois, les Suédois, les Allemands et tout particulièrement les Russes. À la suite de la Guerre froide et de l’indépendance qu’a retrouvée l’Estonie au début des années 1990, Kütt et ses contemporains ont émergé comme étant des leaders mondiaux dans l’art de l’animation. La montée d’une Estonie indépendante après l’ère communiste fournit un contexte littéral et métaphorique à la fascination qu’exerce sur Mati Kütt l’exploration, sous les apparences extérieures de la réalité, de la possible poésie de l’imagination et des vastes cartographies de l’inconscient humain, entre autres. Son œuvre sonde aussi l’image elle-même en tant que surface et comment la création même d’une telle surface en tant qu’animateur traite en fait, paradoxalement, de l’exploration et de l’expression de ce qui se trouve sous, au-dessus ou le long de cette surface. La surface n’est que le commencement. En utilisant des techniques tirées du découpage, de l’art de la marionnette, de la peinture, du grattage, du dessin, de la pixillation et de l’animation par ordinateur, Kütt mélange constamment et au hasard les médias dans son œuvre et crée ainsi des surfaces captivantes, saisissantes, lancinantes et mystérieuses.

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WWW.ANIMATIONFESTIVAL.CA ous yet kinetic visual style reminiscent of early Piotr Dumala and, more precisely, Francisco Goya, Labyrinth (1989) explores the tensions between entrapment (physical, psychological, and, given the time it was made – before the Soviet Union collapsed – political) and liberty; between conformity and individuality; darkness and light; drab reality and the possibilities of the imagination.

The struggle is intense and violent: trees become stone towers, wings become razor blades, joyful colours are menaced by a dark, encroaching oblivion.

This ongoing struggle for the liberation of desire continues in Smoked Sprat Baked In The Sun (1992), an operatic fish tale about the one that got away. By turns tragic and absurd, it revolves around a man who lives under the sea and yearns for the beautiful female fish who lives on land. It is a world of inversions, passions, and very obscure objects of desire. In Little Lilly (1994), a girl observes the irony of her father’s wish to fly while remorselessly killing all the flying insects that buzz around him. Out of this circumstance Lilly resolves to become as small as a fly to teach father a lesson about how to realize one’s dreams. As simple and as complex as a fable, Little Lilly investigates how imagination can sustain us or, when misused or corrupted like Lilly’s father’s, drive us to madness. The haunting and enigmatic Underground (1997) follows a ballerina across a series of surfaces and situations, from black and white to colour, from pixilation to oil paint animation, from two dimensional to three – desire and expression dancing with control and order.

Not unlike these parables of desire, Button’s Odyssey (2002) is also an examination of the concept of fate and the dialectics of freedom. Following a humble button through the vicissitudes of its life journey (swallowed by a cow, falling into the sea, etc.), Kütt ponders how our fates are sometimes determined by ourselves, but more often by events beyond our control. And so, when Button exclaims, “It’s so wonderful to be free,” there is a personal and, for Estonians, political irony beneath these words. As Chris Robinson observes in Estonian Animation: Between Genius & Utter Illiteracy (2005), “This is an age old philosophical question which certainly Kütt poses from the position of Estonia. Estonia is now free, but did Estonians cause their own freedom or was it just the result of a series of outside factors? ... Kütt seems to suggest that Estonia, like Button, remains in search of its function or purpose.” Indeed, sometimes a button is a lot more than merely a button.

If all of his films are engaged in probing below the surface of things, Institute of the Dream (2006) is an animated invitation into and evocation of the unconscious, a journey in the worlds of sleep and dream. A variation on the Sandman tale, Institute conjures a dreamscape with Rene Magritte clouds and bowler-hatted gents, rabbits and televised weather forecasts, restless babies, and ‘sleep po53

SURFACE TENSION: THE ANIMATION ART OF MATI KÜTT Saturday, September 24, 7:00 pm (National Gallery) Sunday, September 25, 11:00 am (National Gallery) SMOKED SPRAT BAKED IN THE SUN (1992) 22:14 | DIGITAL LABYRINTH (1989) 8:00 | 35MM LITTLE LILLY (1994) 15:02 | DIGITAL SUBSTANTIA STELLARIS (2007) 3:30 | DIGITAL BUTTON’S ODYSSEY (2002) 18:33 | DIGITAL INSTITUTE OF THE DREAM (2006) 10:15 | 35MM

Mati Kütt, qui est aussi un peintre accompli, a débuté sa carrière d’animateur en 1981 avec Monument, qui est le conte quasi sisyphien d’un homme chargé de transporter des monuments encombrants là où ils doivent être montrés. Après avoir travaillé quelques années en tant qu’artiste d’animation pour d’autres films estoniens, il a élaboré sa propre œuvre à la fin des années 1980.

Avec un style visuel lugubre mais cinétique qui rappelle la première manière de Piotr Dumala et plus précisément Francisco Goya, Labyrinth (1989) explore les tensions entre l’enfermement (physique, psychologique et, vu le moment de sa création – avant la chute de l’Union soviétique –, politique) et la liberté, entre la conformité et l’individualité, entre l’obscurité et la lumière, entre la morne réalité et les possibilités de l’imagination.

La bataille est intense et violente : des arbres deviennent des tours de pierre, des ailes deviennent des lames de rasoir, des couleurs joyeuses sont menacées par un néant sombre et envahissant.

Cette lutte continue pour la libération du désir se poursuit dans Smoked Sprat Baked In The Sun (1992), un conte lyrique à dormir debout sur ce qui nous a échappé. Tout à tour tragique et absurde, l’histoire est axée sur un homme qui vit sous la mer et se languit de la belle femme-poisson qui vit sur terre. C’est un monde d’inversions, de passions et de très obscurs objets de désir. Dans Little Lilly (1994), une fille remarque l’ironie du désir de voler de son père, qui tue sans remords tous les insectes qui volent autour de lui. Lilly décide donc de devenir aussi petite qu’une mouche pour donner à son père une leçon sur la façon de réaliser ses rêves. Aussi simple et aussi complexe qu’une fable, Little Lilly étudie comment l’imagination peut nous soutenir ou bien, quand elle est mal utilisée ou corrompue comme dans le cas du père de Lilly, nous mener à la folie. Le lancinant et énigmatique Underground (1997) suit une ballerine sur toute

WWW.ANIMATIONFESTIVAL.CA une série de surfaces et dans toutes sortes de situations, du noir et blanc à la couleur, de la pixillation à l’animation de peinture à l’huile, de deux à trois dimensions; le désir et l’expression dansant avec le contrôle et l’ordre.

Rappelant ces paraboles du désir, Button’s Odyssey (2002), est aussi une étude du concept de destin et de la dialectique de la liberté. Suivant un humble bouton dans les vicissitudes du périple de sa vie (avalé par une vache, chute dans la mer, etc.), Kütt soupèse comment nos destins sont parfois déterminés par nous, mais le plus souvent par des événements qui échappent à notre contrôle.

Ainsi, quand « Button » s’exclame : « Il est si merveilleux d’être libre », ces mots cachent une ironie personnelle, qui est aussi, pour les Estoniens, une ironie politique. Comme Chris Robinson l’observe dans Estonian Animation: Between Genius & Utter Illiteracy (2005), « C’est là une vieille question philosophique que Kûtt pose certainement du point de vue de l’Estonie. L’Estonie est maintenant libre, mais les Estoniens ont-ils causé leur propre liberté, ou celle-ci ne résulte-t-elle que d’une série de facteurs externes?... Kütt semble suggérer que l’Estonie, comme «Button», demeure en quête de sa fonction ou de son but. » (2005, p. 157) En effet, il arrive qu’un bouton soit bien plus qu’un bouton.

lice.’ Substantia Stellaris (2007), meanwhile, offers a brief, poetic history of time and the universe, replete with Kütt’s recurring motifs of rich, vibrant worlds below the surface, the symbiosis of fire and ice, and the deadening static noise of technology, all rendered in a riot of different animated styles and techniques.

His most recent work, Sky Song (2010), is a sprawling allegorical summation of the 20th century’s confused, extreme, dangerous, wondrous embrace of science, rationalism, Freudian psychology, technology, and mechanized militarism. Moving from the sinister and sometimes cruel laboratory of Sigmund Freud into a strange, oblique lunar travel tale that at times echoes Georges Melies’ A Trip to the Moon (1902), Sky Song articulates the angst of living in a world governed by the obscure authorities of bar codes, behavioural psychology, and technological determinism. With its allusions, direct and indirect, to the art of Magritte, Salvador Dali, Luis Bunuel, Alfred Hitchcock, and Jacques Tati, Kütt’s film also argues that the imagination, and its many portals into and out of the unconscious, is a safeguard against destruction and that it must prevail if humanity itself is to survive.

Beneath the surface of the conscious world, then, is the poetry of the unconscious, and that poetry can nourish and protect. Sky Song is a masterful, impassioned plea for the exploration of that very terrain.

Bien que tous les films de Kütt sondent sous la surface des choses, Institute of the Dream (2006) est une évocation de l’inconscient et une invitation à y descendre, à voyager dans les mondes du sommeil et du rêve au moyen de l’animation.

Variation sur le thème du « marchand de sable », Institute évoque un décor de rêve avec des nuages et des messieurs portant chapeau melon à la René Magritte, des lapins et des bulletins météo télévisés, des bébés agités et une « police du sommeil ».

Pour sa part, Substantia Stellaris (2007) offre une brève et poétique histoire du temps et de l’univers, regorgeant des motifs récurrents de Kütt que sont les mondes riches et pleins de vie sous la surface, la symbiose du feu et de la glace et les bruits parasites assourdissants de la technologie, tous rendus dans une profusion de styles et de techniques d’animation.

Son œuvre la plus récente, Sky Song (2010), est un résumé allégorique étendu de l’étreinte confuse, extrême, dangereuse, merveilleuse qu’a voulu faire le XXe siècle de la science, du rationalisme, de la psychologie freudienne, de la technologie et du militarisme mécanisé. Passant du laboratoire sinistre et parfois cruel de Sigmund Freud à un conte de voyage lunaire étrange et tangent qui fait parfois écho au Voyage dans la lune (1902) de Georges Méliès, Sky Song articule l’angoisse de vivre dans un monde gouverné par les obscures autorités des codes à barres, de la psychologie comportementale et du déterminisme technologique. Avec ses allusions, directes et indirectes, à l’art de René Magritte, Salvador Dali, Luis Bunuel, Alfred Hitchcock et Jacques Tati,

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WWW.ANIMATIONFESTIVAL.CA Mati Kütt’s startling, engaging animation reminds us of the disquieting possibility that perhaps, in our contemporary accelerated technological and ‘progressive’ world, we still labour under the weight of old, even anachronistic, forms of thought: old tyrannies; old, crumbling paradigms.

In his multifarious and multi-mediated animated parables, the received ‘wisdoms’ of science, militarism, mechanization, politics, psychology, and history must be overturned by desire and compassion, by a vague but insistent set of energies that come from creativity and enchantment. These are the energies that carry us to places beyond the reductive, often deceptive surfaces of the world and enable us to perceive its marvels, dangers, and, yes, even its occasionally transcendent beauty.

le film de Kütt soutient de plus que l’imagination, ainsi que ses nombreux portails pour entrer et sortir de l’inconscient, est une sauvegarde contre la destruction et qu’elle doit prévaloir pour que l’humanité survive. Sous la surface du monde conscient se situe donc la poésie de l’inconscient, et cette poésie peut nourrir et protéger. Sky Song est un plaidoyer magistral et passionné en faveur de l’exploration de ce terrain.

L’animation saisissante et attachante de Mati Kütt nous rappelle la possibilité terrifiante que, peutêtre, dans notre monde contemporain accéléré, technologique et « progressif », nous peinons encore sous le poids de formes de pensée désuètes et même anachroniques. De vieilles tyrannies; des paradigmes vieux et croulants. Dans ses paraboles animées aux formes et aux médias multiples, les « sagesses » reçues de la science, du militarisme, de la mécanisation, de la politique, de la psychologie et de l’histoire doivent être renversées par le désir et la compassion, par un ensemble d’énergies vagues, mais pressantes, qui viennent de la créativité et de l’enchantement. Voilà les énergies qui nous transportent au-delà des surfaces réductrices et souvent trompeuses du monde, et qui nous permettent de percevoir ses merveilles, ses dangers et même, à l’occasion, sa beauté transcendante.

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CARTOON FIGHT CLUB: THE MOST VIOLENT CARTOONS EVER MADE! LE CLUB DE BAGARRES ANIMÉES LES DESSINS ANIMÉS LES PLUS VIOLENTS JAMAIS CRÉÉS! By / Par Jerry Beck Tom vs. Jerry, Popeye vs. Bluto, Duck vs Fudd.

Head banging, fist-pounding, eye bulging cartoon entertainment, the kind they don’t make anymore.

Think about it. One of the core traits of classic American animation back in the Golden Age of Hollywood (1930-1960) was the eternal battle between good and evil – as personified by anthropomorphic dogs, cats, mice, and “wabbits”.

It’s funny how no one ever talks about this. Decades long series of cartoons were built around the concept of “funny beatings” (as my friend John Kricfalusi calls them) – Humor based around how outrageous the violence could be. Try selling that idea to Nickelodeon these days.

Slapstick comedy is as old as theatre itself, dating back to “Punch and Judy” puppet shows of the 16th Century. Early silent film comedians (think Charlie Chaplin and the Keystone Kops) updated the concept for the 20th Century’s motion picture medium. Walt Disney himself ushered the concept into the talkie era the first time Mickey Mouse landed a punch to Peg Leg Pete’s gut.

It didn’t get sophisticated, so to speak, until 1933 when Max and Dave Fleischer began adapting the popular comic strip fighter, Popeye, to the screen.

Tom contre Jerry, Popeye contre Bluto, Duck contre Fudd. Du divertissement sous forme de dessins animés où les adversaires se tapent sur la tête, se tabassent à grands coups de poing et se font sortir les yeux de la tête : le genre de divertissement qui ne se fait plus, quoi.

Pensez-y. Une des principales caractéristiques du dessin animé américain classique à l’époque de l’Âge d’Or d’Hollywood (1930-1960) était l’éternel combat entre le bien et le mal – tel que personnifié par des chiens, des chats, des souris et des « wapins » anthropomorphes.

Il est curieux que personne n’en parle. Pendant des décennies, les dessins animés ont été basés sur le concept des « tapochages drôles » (comme les appelle mon ami John Kricfalusi) – de l’humour axé sur un degré atroce de violence. Essayez donc de vendre l’idée à Nickelodeon ces temps-ci.

La comédie « tarte à la crème » est aussi vieille que le théâtre lui-même, et remonte aux spectacles de marionnette « Punch and Judy » au 16e siècle. Les acteurs des premiers films muets (pensez à Charlie Chaplin et aux Keystone Cops) ont dépoussiéré le concept pour le média du XXe siècle qu’est le cinéma. Walt Disney lui-même a introduit le concept à l’époque du parlant la première fois que Mickey a planté son poing dans l’estomac de Peg Leg Pete. Ça ne s’est pas raffiné, pour ainsi dire, avant 1933,

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WWW.ANIMATIONFESTIVAL.CA To simplify the storylines, which were quite complex and dramatic in the daily newspaper strip, the animated cartoons kept the focus on the rivalry between the one-eyed sailor and his main opponent, Bluto, for the affections of sweet Olive Oyl. The Popeye cartoons became quite popular – in fact they were even more popular than Disney’s shorts for most of the 1930s. Thus we come to the honorary rule of Cartoon Fight Club: there’s nothing funnier than watching two burly sailors beating their brains out.

By the 1940s, with World War Two redirecting Popeye and Bluto’s energies toward the enemy, a new fighting duo soon emerged – Tom and Jerry.

MGM, struggling for years trying to compete with Disney, hired Hugh Harman and Rudolph Ising to create elaborate versions of children’s fairy tales and heart-warming mini-musicals. Ising teamed his top story man Joe Barbera with his best animation timer, Bill Hanna - and together they made magic with a sparring cat and mouse in an Oscar nominated cartoon, Puss Gets The Boot (1940).

The cat-and-mouse were quickly named Tom & Jerry and were allowed to run rampant in the back lot of Hollywood’s “Tiffany studio”. Hanna and Barbera held nothing back and had nothing to lose, taking essentially standard Disney-esque cartoon animals and surroundings, and ramping up the speed and the perceived pain. Tom’s tail would be frequently chopped off; anvils, irons and baseball bats fell violently on his head; and if the cat had any balls (we never saw them) they were usually broken, busted and crushed as a variety of objects whacked between his legs. Move over Three Stooges - some of the most violent “gags” ever visualized appeared in the Oscar winning Tom & Jerry cartoons. Kitty Foiled (1948), for example, is not only typical of the series, it’s Tom & Jerry cartoon in their purest form. There is almost no plot to speak of, just one pain gag after another – with little Jerry aided in his battle against Tom by a small, yellow canary.

The Tom & Jerry series was brilliant because Hanna timed them to perfection and Barbera’s animation drawings and key poses were hysterically funny. These skills seemed to be lost, however, on the artists behind Paramount’s Herman and Katnip cartoons. Produced 3000 miles away at New York’s Famous Studios (the remnants of Max Fleischer’s original studio), the animators must have thought Tom & Jerry looked easy. Just a few hurt gags here and a few hurt gags there, and viola!

Think again! Herman and Katnip were the nadir of senseless cartoon mayhem (so much so, they have been credited for inspiring The Simpsons’ Itchy and Scratchy). You can actually feel the hate between these two characters and the pain in each hit, slap and whack.

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quand Max et Dave Fleischer ont commencé à adapter le dur-à-cuire populaire de la bande dessinée, Popeye, à l’écran. Pour simplifier les intrigues, fort complexes et dramatiques dans la bande dessinée quotidienne, les dessins animés se sont concentrés sur la rivalité entre le marin borgne et son principal adversaire, Bluto, pour s’attirer l’affection de la douce Olive Oyl. Les dessins animés de Popeye sont devenus très populaires – plus, en fait, que les courts métrages de Disney pendant la plus grande partie des années 1930. Nous en venons ainsi à la règle honorifique du Club des bagarres animées : il n’y a rien de plus drôle que de voir deux marins costauds se taper allègrement sur la caboche.

Arrivent les années 1940, et la Deuxième Grande Guerre canalise les énergies de Popeye et de Bluto contre l’ennemi. Un nouveau duo d’adversaires voit bientôt le jour – Tom et Jerry. MGM, qui se débattait depuis des années pour concurrencer Disney, a embauché Hugh Harman et Rudolph Ising afin de créer des versions élaborées de contes de fées pour enfants et de mini-spectacles musicaux réconfortants. Ising a jumelé son meilleur scénariste, Joe Barbera, avec son meilleur minuteur d’animation, Bill Hanna – et ensemble ils ont créé de la magie avec un chat et une souris partenaires d’entraînement dans un dessin animé mis en nomination aux Oscars, Puss Gets The Boot (1940).

Ce chat et cette souris ont rapidement pris le nom de Tom & Jerry, et on leur a laissé toute liberté dans la cour du Tiffany Studio d’Hollywood.

N’ayant rien à perdre, Hanna et Barbera n’ont rien ménagé : ils ont pris des animaux et des décors de dessins animés façon Disney, ils en ont augmenté la cadence et... la douleur perçue. La queue de Tom a souvent été coupée; des enclumes, des fers à repasser et des bâtons de base-ball lui sont tombés violemment sur la tête; et si ce chat avait des c... (on ne les a jamais vues), elles ont été habituellement cassées, éclatées et écrabouillées par la gamme d’objets qui lui ont défoncé l’entrejambes. Dehors, les Three Stooges – certains des gags plus violents jamais portés à l’écran sont apparus dans les dessins animés Tom & Jerry qui ont remporté des Oscars. Kitty Foiled (1948), par exemple, est non seulement un exemple typique de la série, c’est aussi un dessin animé Tom & Jerry dans sa forme la plus pure. Il n’y a pour ainsi dire pas d’intrigue, juste un gag douloureux après l’autre – le petit Jerry étant aidé dans sa bataille contre Tom par un petit canari.

La série Tom & Jerry était brillante parce qu’Hanna les rythmait à la perfection, et que les dessins d’animation et les principales poses de Barbera étaient désopilants. Ces compétences ont semblé se perdre chez les artistes qui ont réalisé les dessins animés Herman et Katnip pour la société Paramount. Produisant ces dessins animés plus de 5 000 kilomètres plus loin, à New York, chez Famous Studios (les restes du studio original de Max

WWW.ANIMATIONFESTIVAL.CA CARTOON FIGHT CLUB Thursday, September 22, 11:00 am (Arts Court Theatre) Thursday, September 22, 9:15 pm (Arts Court Theatre) Saturday, September 24, 3:00 pm (Empire Theatres Rideau) Saturday, September 24, 11:30 pm (Arts Court Theatre) POPEYE ‘CAN YOU TAKE IT’ (1934) DAVE FLEISCHER | USA EGGHEAD ‘COUNT ME OUT’ (1938) BEN HARDAWAY AND CAL DALTON | USA PORKY AND DAFFY (1938) BOB CLAMPETT | USA DAFFY DUCK ‘TO DUCK OR NOT TO DUCK’ (1943) CHUCK JONES | USA POPEYE ‘PUNCH AND JUDO’ (1951) I. SPARBER | USA HERMAN & KATNIP ‘MOUSEUM’ (1956) SEYMOUR KNEITEL | USA BUGS BUNNY ‘RABBIT PUNCH’ (1948) CHUCK JONES | USA TOMMY TORTOISE & MOE HARE ‘RABBIT PUNCH’ (1955) DAVID TENDLAR | USA WOODY WOODPECKER ‘WHO’S COOKIN’ WHO?’ (1946) SHAMUS CULHANE | USA TOM & JERRY ‘KITTY FOILED’ (1948) BILL HANNA AND JOSEPH BARBERAW | USA

Unlike loveable Sylvester the cat, you wouldn’t want to run into Herman or Katnip in a dark alley… they’re armed and dangerous!

The Herman and Katnip shorts have what I call “Shemp syndrome” – it’s the same problem the Three Stooges shorts of the 50s had – they forgot what was funny about slapstick in the first place.

The filmmakers just knew that “hurt gags” worked, so they upped the “hurt”, figuring it’ll be funnier.

The results were less funny and more violent, and often in horrible taste. Mouseum (1956) features my all-time favorite bad-taste ending. It makes me laugh because of how wrong it is.

Here’s the set-up: Katnip is chasing Herman and his cousins through a natural history museum.

What follows next is pure genius: The cat chases the mouse into a stuffed elephant’s head. Katnip sticks a rifle into the elephant’s trunk and Herman, using super-human strength, bends the rifle to aim it back towards Katnip. His gunshot blast blows the elephant’s glass eyes into Katnip’s head!

The eyes fall from his head and the cat thinks the glass eyeballs are his! He shoves them into his eye sockets making himself blind… he goes running into the street blindly, as Herman and the mice

Fleischer), les animateurs ont dû penser que Tom & Jerry étaient trop tendres. À peine quelques gags qui font mal ici et là !

Et vlan, ils en remettent ! Herman et Katnip ont été le nadir du grabuge absurde dans les dessins animés (à tel point qu’on dit qu’ils ont inspiré les personnages Itchy et Scratchy des Simpsons). Vous pouvez ressentir la haine qu’ont l’un pour l’autre les deux protagonistes et la douleur qu’inflige chaque coup. Au contraire de l’aimable chat Sylvester, vous ne voudriez rencontrer ni Herman ni Katnip dans une ruelle peu éclairée... ils sont armés et dangereux !

Les courts métrages Herman et Katnip souffrent de ce que j’appelle le « syndrome de Shemp » – les courts métrages des Three Stooges des années 1950 avaient le même problème – ils ont oublié ce qui est drôle dans les farces « tarte à la crème ».

Les cinéastes savaient que les gags douloureux fonctionnaient, alors ils ont augmenté le niveau de douleur en pensant que ce serait plus drôle. Les résultats furent moins drôles et plus violents, et souvent du plus mauvais goût. Mouseum (1956) comporte ma conclusion « mauvais goût » préférée. Cela me fait rire tellement c’est faux.

Voici le contexte : Katnip prend Herman et ses cousins en chasse dans un musée d’histoire naturelle. Ce qui suit tient du génie : le chat poursuit la souris dans la tête d’un éléphant empaillé. Katnip met une carabine dans la trompe de l’éléphant et Herman, avec une force surhumaine, en replie le canon pour le pointer vers Katnip. Le coup de feu envoie les yeux de verre de l’éléphant dans la tête de Katnip ! Les yeux de verre tombent de la tête du chat, et le chat croit que ces yeux de verre sont les siens ! Il les remet dans ses propres orbites et se rend aveugle... Il erre alors dans les rues tandis que Herman et les souris se moquent de son infirmité. Plus d’iris... Quentin Tarantino serait fier !

Le même studio a hérité de la série Popeye des frères Fleischer, et l’a rabaissée à un marathon de nouvelles façons pour mettre un adversaire hors d’état de nuire. Toutefois, en dépit de qualités esthétiques moindres, la popularité des dessins animés Popeye de la Paramount ne s’est jamais démentie. D’ailleurs, Famous Studios n’avait pas l’exclusivité de la violence dans les dessins animés.

Dans les années 1940, Shamus Culhane, de chez Walter Lantz, a redonné du punch aux courts métrages de Woody Woodpecker lorsqu’il en a pris la direction. Dans Who’s Cookin Who? (1946), Woody met un loup dans le hachoir à viande dans un épisode qui pourrait sortir tout droit du Fargo des frères Coen.

Warner Bros. a sans doute fait les dessins animés les plus drôles de l’Âge d’or. Et là où il y a « drôle », le « combat » n’est pas loin. Les super-vedettes des Looney Tunes se sont signalées plusieurs fois dans le ring. Dans Rabbit Punch (1948), Bugs Bunny lance un défi à « Champ », un type char-

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WWW.ANIMATIONFESTIVAL.CA laugh at his handicap. Iris out. Quentin Tarantino would be proud!

The same studio inherited the Popeye series from the Fleischers, and degenerated it into a marathon of new ways on how to punch out an opponent.

However, despite the lessening aesthetic qualities, the Paramount Popeye cartoons never declined in popularity. Nor did Famous Studios have a lock on cartoon violence. Shamus Culhane at Walter Lantz in the 1940s “punched” things up when he took the reins of the Woody Woodpecker shorts in the 1940s. In Who’s Cookin’ Who? (1946) Woody sticks a Wolf into a meat grinder in a moment that could have come out of The Coen Brothers’ Fargo.

Warner Bros. undoubtedly made the funniest cartoons back in the golden age. And where there is funny, “fighting” can’t be far behind. The Looney Tunes super-stars made several notable appearances in the boxing ring. Bugs Bunny challenges the Champ in Rabbit Punch (1948), a burly chap who cements a brick wall to his boxing glove and fires himself from a cannon to pound the rabbit into pulp; Daffy Duck faces off against Elmer Fudd in To Duck Or Not To Duck (1943); and country bumpkin Egghead gets ripped a new one in the boxing farce Count Me Out (1938). These cartoons were very violent – and nobody ever talks about this stuff. You never hear a word.

And here’s why - the most important rule of Cartoon Fight Club- Rule Number One: Do not talk about Cartoon Fight Club. Especially during the cartoons. Laughing your ass off, however, is perfectly acceptable.

penté en armoire à glace qui cimente un mur de briques à ses gants de boxe et se propulse d’un canon dans le but de se faire du pâté de lapin; Daffy Duck rencontre Elmer Fudd dans To Duck or Not to Duck (1943); le péquenaud Egghead se fait encore rouler dans l’épisode sur la boxe Count Me Out (1938). Ces dessins animés étaient très violents – et personne n’en parle jamais. Motus et bouche cousue.

Voici pourquoi – la règle la plus importante du Club de bagarres animées – Règle numéro un : Ne parlez pas du Club de bagarres animées. Surtout pendant la projection des dessins animés en question. Mais il est tout à fait authorisé de rire à s’en tenir les côtes.

SPECIAL PRESENTATIONS / PRÉSENTATIONS SPÉCIALES

LA MOUTSTACHE / EN MASSE: LIVE MURAL PROJECT Opening: Thursday, September 22, 5:00pm (Arts Court Studio) Ouverture : Jeudi 22 septembre, 17h00 (Studio de la Cour des Arts) The Montreal-based installation series En Masse brings together a flexible and ever-expanding collective of emerging artists, drawn from the fields of graffiti, alternative comics, design and fine arts, who, when assembled in one place, work together improvisationally to create dynamic, large-scale black-and-white artworks.

Alongside En Masse for this event, the on-location animation studio, La Moustache will be documenting the creation of the mural.

La série d’installations montréalaises En Masse réunit un collectif polyvalent et toujours grandissant d’artistes émergents dans les domaines du graffiti, de la BD alternative, de la conception et des Beaux-Arts, et qui, lorsqu’ils sont rassemblés en un lieu, improvisent ensemble des oeuvres à grande échelle en noir et blanc.

Parallèlement, le studio d’animation sur place La Moustache documentera la création de l’oeuvre murale.

A HISTORY OF ANIMATION PRESENTED BY / UNE HISTOIRE DE L’ANIMATION, PAR JEFF TWILLER & RANDY J. JOHNSON INTENDED FOR MATURE AUDIENCES ONLY / RECOMMANDÉ POUR UN PUBLIC AVERTI

Thursday, September 22, 11:00pm (Arts Court Theatre) Jeudi 22 septembre, 23h00 (Cour des Arts Theâtre) Webcasting from his mother’s basement in the working class neighborhood of Slushing Brooks, obese house painter Jeff Twiller and his neighbor Randy J. Johnson host a mock panel discussion on the history of Animation, with particular emphasis on the Ottawa Animation Festival and the role it has played in recognizing short films, and filmmakers. Excerpts include Hedgehog in the Fog, The Man who planted Trees, and many others.

Animated and written by Morgan Miller and Josh Kleefeld.

Diffusant par webcam à partir du sous-sol de chez sa mère dans le quartier ouvrier de Slushing Brooks, l’obèse peintre en bâtiment obèse Jeff Twiller et son voisin Randy J. Johnson animent un faux groupe de discussion sur l’histoire de l’animation, en mettant l’accent sur le Festival international d’animation d’Ottawa et le rôle qu’il a joué dans la reconnaissance des courts-métrages et des cinéastes. Hedgehog in the Fog, L’homme qui plantait des arbres et plusieurs autres films figurent parmi les extraits présentés.

Animé et écrit par Morgan Miller et Josh Kleefeld.

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SPECIAL PRESENTATIONS / PRÉSENTATIONS SPÉCIALES

THE MARVELOUS ADVENTURES OF PEN AND THUROP Saturday, September 24, 4:00pm (Museum of Civilization) Samedi 24 septembre, 16h00 (Musée des Civilisations) Looking for a little adventure at the OIAF? We got that. Adventure Time and The Marvelous Adventures of Flapjack creators Pen Ward and Thurop Van Orman are here to discuss their breakout hits on Cartoon Network. Emmy nominated Adventure Time is one crazy adventure after another for human boy, Finn, and his best friend, Jake, a dog with magical powers. They’re out to have the most fun possible and they sure do find it exploring the Land of Ooo! And Emmy Award winning The Marvelous Adventures of Flapjack… Well, let’s just say it’s difficult to describe a show about a boy who craves adventure and lives inside a big ole whale with his best friend who also happens to be a selfish old pirate. But there you have it.

Vous cherchez de l’aventure au FIAO ? Nous en avons ! Les créateurs d’Adventure Time et des Marvelous Miasadventures of Flapjack, Pen Ward et Thurop Van Orman, viennent discuter de leurs succès décisifs au Cartoon Network. Adventure time, nominé aux prix Emmy, fait vivre des aventures incroyables au garçon Finn et à son meilleur ami Jake, un chien aux pouvoirs magiques. Ils cherchent à s’amuser le plus possible et sont certains d’y arriver en explorant le pays de Ooo ! Quant aux Misadventures of Flapjack, qui a remporté un Emmy... Eh bien, disons qu’il est difficile de décrire un film à propos d’un garçon qui aime l’aventure et vit dans une grosse baleine avec son meilleur ami, qui est, comme par hasard, un vieux pirate égoïste. Voilà.

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LATE NIGHT SPECIAL Saturday, September 24, 7:00pm (Museum of Civilization) Samedi 24 septembre, 19h00 (Musée des Civilisations) Join some of Late Night TV’s favourite writers and creators for a hilarious discussion on developing shows, writing comedy and pushing the limits for the 18+ audience. Hear stories from the trenches, how they got their projects started and how they reached late night success.

Venez joindre une gang de vos écrivains et créateurs favoris dans le domaine d'animation pour adultes, dans une table-ronde qui discutera le dévelopement des séries, l'écriture pour la comédie, tout en testant les limites pour les spectateurs 18+. Écoutez à leurs histoires des tranchées; comment leurs projets sont commençer et comment le succès a été atteint.

SPECIAL PRESENTATIONS / PRÉSENTATIONS SPÉCIALES

INK AND COLOUR: CARTOONS AND COMIC BOOKS IN HIP-HOP CULTURE Saturday, September 24, 9:15pm (Museum of Civilization) Samedi 24 septembre, 21h15 (Musée des Civilisations) Super heroes, spray cans, and poetry. Hip-hop has always been a culture of sampling, pulling together imagery, sounds, and ideas from across the board to create a unique reflection of the world of the artists. It’s no surprise, then, that performers and artists raised through the 1970s and 80s on cartoons, comic books and video games have infused their work with pieces of their childhood.

This panel discussion will explore the way that the visual culture of comic books and animation have informed the making of hip-hop culture. From the influence of cartoon visuals in graffiti and tagging culture, to super hero alter egos as stage personas for prominent rappers.

Featuring music video directors Monkmus (Kid Koala, Bullfrog) and James Reitano (Biz Markie, Madvillain), and writer/producer Eric Calderon (Afro Samurai).

Super-héros, peintures en aérosol et poésie. Le hip-hop a toujours été une culture mixte réunissant des images, des sons et des idées de toutes parts pour créer un miroir unique du monde des artistes. On ne sera donc pas surpris que les performeurs et artistes nourris par les dessins animés, la BD et les jeux vidéos des années 1970 à 1980 aient intégré dans leurs oeuvres ces pièces tirées de leur enfance. Ce groupe de discussion étudiera comment la culture visuelle des BD et de l’animation a inspiré la création de la culture hip-hop. Depuis l’influence des images de dessins animés dans les graffiti et la culture « tag » jusqu’à l’usage des personnages de bandes dessinées comme avatars de scène par les grands rappeurs.

SUPINFOCOM ANIMATION SCHOOL Thursday, September 22, 1:00 pm (National Gallery) Saturday, September 24, 9:15 pm (National Gallery) Samedi 24 septembre, 21h15 (Museé des Beaux-Arts) Jeudi 22 septembre, 13h00 (Museé des Beaux-Arts) For many years, this famed 3D animation school from France, has been churning out one awardwinning film after another. Their graduates are among the most highly coveted hires in the world.

How have they achieved so much? Anne Brotot, Managing Director of Supinfocomgroup in Valenciennes, will let us in on their secrets and screen their newest work.

Depuis plusieurs années déjà, la célèbre école d’animation 3D Supinfocom, établie en France, produit nombre de films qui, l’un après l’autre, se voient invariablement décerner de nombreux prix.

Les diplômés de l’école comptent parmi la maind’oeuvre la plus convoitée au monde dans leur domaine d’expertise. Comment expliquer une telle réussite? Anne Brotot, directrice générale de Supinfocomgroup à Valenciennes, viendra partager avec nous quelques-uns des secrets de ce succès.

Elle profitera de l’occasion pour présenter les plus récentes oeuvres issues de l’école Supinfocom.

PRESENTED BY / PRÉSENTÉ PAR:

Avec les réalisateurs de vidéoclips Monkmus (Kid Koala, Bullfrog) et James Reitano (Biz Markie, Madvillain), et writer/producer Eric Calderon (Afro Samurai).

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SPECIAL PRESENTATIONS / PRÉSENTATIONS SPÉCIALES Joe Ranft, cofondateur de la section créative et scénarimagiste chez Pixar, est reconnu pour ses contributions originales et irrévérencieuses à des classiques récents tels que The Brave Little Toaster (1987), Who Framed Roger Rabbit (1988), The Little Mermaid (1989), The Nightmare Before Christmas (1993), de Tim Burton, Toy Story (1995), James and the Giant Peach (1996), Toy Story 2 (1999), Monsters, Inc. (2001) et Cars (2006).

JOHN CANEMAKER PRESENTS / PRÉSENTE: TWO GUYS NAMED JOE Friday, September 23, 9:15pm (Museum of Civilization) Vendredi 23 septembre, 21h15 (Musée des Civilisations) Academy Award–winning animation filmmaker and author John Canemaker presents an illustrated lecture based on his new book Two Guys Named Joe (Disney Editions, 2010), an immensely entertaining and insightful portrait of the legendary animation storytellers Joe Grant (1908–2005) and Joe Ranft (1960–2005).

In his long career at Disney, Grant helped create such masterworks as Snow White and the Seven Dwarfs (1937), Pinocchio (1940), Fantasia (1940), Dumbo (1941), Make Mine Music (1946), and Lady and the Tramp (1955), as well as more recent hits like Beauty and the Beast (1991) and The Lion King (1994).

Ranft, a Pixar creative co-founder and storyboard artist, is widely celebrated for his imaginative and irreverent contributions to such recent classics as The Brave Little Toaster (1987), Who Framed Roger Rabbit (1988), The Little Mermaid (1989), Tim Burton’s The Nightmare Before Christmas (1993), Toy Story (1995), James and the Giant Peach (1996), Toy Story 2 (1999), Monsters, Inc. (2001), and Cars (2006).

L’auteur et cinéaste d’animation titulaire d’un Oscar John Canemaker donne une conférence illustrée basée sur son nouveau livre Two Guys Named Joe (éditions Disney, 2010), qui brosse un portrait très divertissant et perspicace des conteurs-animateurs Joe Grant (1908–2005) et Joe Ranft (1960–2005).

Pendant sa longue carrière chez Disney, Joe Grant a aidé à créer des chefs-d’oeuvre tels que Blanche Neige et les sept nains (1937), Pinocchio (1940), Fantasia (1940), Dumbo (1941) Make Mine Music (1946) et La Belle et le Clochard (1955), de même que des succès plus récents tels que La Belle et la Bête (1991) et Le Roi Lion (1994).

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MASTERCLASSES / DES CLASSES DE MAÎTRES Masterclasses give you a rare glimpse into the world of some of animation’s masters, sharing anecdotes, discussing their process and answering your burning questions. Check animationfestival.ca for more details.

Les classes de maître vous donneront un rare aperçu du monde des maîtres de l’animation. Ils partageront avec vous des anecdotes, discuteront de leur démarche et répondront à vos questions brulantes. Vous trouverez plus de détails sur animationfestival.ca.

MASTERCLASS: WENDY TILBY & AMANDA FORBIS Thursday, September 22, 7:00 pm (Art Court Theatre) Jeudi 22 septembre, 19h00 (Cour des Arts Theâtre)

MASTERCLASS: KOJI YAMAMURA Friday, September 23, 11:00 am (Arts Court Theatre) Vendredi 23 septembre, 11h00 (Cours des Art Theâtre)

MASTERCLASS: GIL ALKABETZ Saturday, September 24, 11:00am (Arts Court Theatre) Samedi 24 septembre, 11h00 (Cours des Arts Theâtre)

SPECIAL PRESENTATIONS / PRÉSENTATIONS SPÉCIALES

TELETOON AT NIGHT PILOT PROJECT / TELETOON LA NUIT PROJET

THE MAKING OF PIXAR’S LA LUNA / LA RÉALISATION DE LA LUNA PAR PIXAR

Friday, September 23, 11:30pm (Arts Court Theatre)

Sunday, September 25, 11:00am (Museum of Civilization)

Vendredi 23 septembre, 11h30 (Cours des Arts Theâtre)

Dimanche 25 septembre, 11h00 (Musée des Civilisations)

Launched in early 2011, the Teletoon at Night Pilot Project called for original, funny and unique animated short films for both teletoonatnight.com and teletoonlanuit.com in hopes of opening doors of possibility to raw and undiscovered creative talent. Following the screening of the Top 5 finalist films for both English and French-speaking contests, the grand prize winners will host a Q&A session for fans and industry members alike.

La Luna is the timeless fable of a young boy who is coming of age in the most peculiar of circumstances. Tonight is the very first time his Papa and Grandpa are taking him to work. In an old wooden boat they row far out to sea, and with no land in sight, they stop and wait. A big surprise awaits the little boy as he discovers his family’s most unusual line of work. Should he follow the example of his Papa, or his Grandpa? Will he be able to find his own way in the midst of their conflicting opinions and timeworn traditions?

Initié début 2011, le TELETOON la Nuit Projet Pilote est un appel aux courts métrages d’animation particuliers, amusants et originaux pour ayant l’espoir d’offrir des opportunités aux nouveaux talents encore inconnus. Après la projection des cinq films finalistes en lice pour les concours anglophone et francophone, les gagnants du grand prix se livreront à une session de questions/réponses avec amateurs et professionnels.

This special screening of La Luna will include a presentation by the director, Enrico Casarosa, in which he will discuss the journey that led him to create this very personal short, and along the way demonstrate the singularly artistic style by which the film was crafted.

La Luna est la fable sans âge du passage d’un jeune garçon à l’âge adulte dans des circonstances des plus étranges. Ce soir, c’est la toute première fois que son père et son grand-père l’emmènent travailler. Ils rament vers la haute mer dans un rafiot en bois, puis, ayant perdu la côte de vue, ils s’arrêtent et attendent. Une grande surprise attend le petit garçon lorsqu’il découvre le métier inhabituel qu’exercent son père et son grand-père.

Suivra-t-il leur exemple ? Pourra-t-il se frayer son propre chemin au milieu des opinions contradictoires et des traditions éprouvées par le temps?

Cette projection spéciale de La Luna comprendra une présentation par le réalisateur, Enrico Casarosa. Il y discutera du cheminement qui l’a amené à créer ce court-métrage très personnel; chemin faisant, il illustrera le style artistique singulier qui a servi à fabriquer le film.

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WWW.ANIMATIONFESTIVAL.CA

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WWW.ANIMATIONFESTIVAL.CA

WWW.ANIMATIONFESTIVAL.CA

JUSQU’AU 10 OCTOBRE UNTIL OCTOBER 10

Commanditaire présentateur Presenting Sponsor

www.civilisations.ca/japon • 100, rue Laurier Street, Gatineau, QC • www.civilization.ca/japan Organisée par le Musée canadien des civilisations avec la collaboration du Musée national de l’histoire japonaise (Sakura, Japon) et de l’ambassade du Japon au Canada.

Developed by the Canadian Museum of Civilization with the assistance of the National Museum of Japanese History in Sakura, Japan and the Embassy of Japan in Canada.

Commanditaire associé • Supporting Sponsor

Partenaire média • Media Partner

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7/22/11 9:51 AM

:51 AM

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SPECIAL PRESENTATIONS / PRÉSENTATIONS SPÉCIALES

THE STORY BEHIND WINNIE THE POOH / SHORTS AT THE STUDIO: BALLAD OF NESSIE

CLOSING CEREMONIES HOSTED BY / CÉRÉMONIES DE CLÔTURE ANIMÉES PAR FRENZER FOREMAN

Sunday, September 25, 1:00PM (Museum of Civilization)

Sunday, September 25, 7:00pm (Museum of Civilization)

Dimanche, le 25 septembre 13h00 (Musée des Civilisations)

Dimanche 25 septembre, 19h00 (Musée des Civilsations)

In a joint presentation Steve Anderson and Don Hall, the directors of Walt Disney Animation’s latest hand drawn animated film, Winnie The Pooh, will discuss the making of the movie followed by a presentation with producer, Dorothy McKim and supervising animator, Mark Henn on the evolution of WDAS’s charming short, The Ballad of Nessie.

This year’s OIAF Awards cermonies will be hosted by funny guys Joel Frenzer and Alan Foreman.

The Frenzer Foreman Animation Forum is the world’s first and only premiere comedy podcast about animation. Hosts Joel Frenzer and Alan Foreman imbibe their extensive encyclopedic animation knowledge, brilliance, and humility into you each month, while also interviewing other fellow legends and heroes of the animation arts.

Animation on the radio; it’s like photosynthesis on the moon.

Go behind the scenes with the film makers as they discuss 2D animation, special effects, research and casting of these recently released films. Both films will be screened as part of the presentation.

Au cours d’un exposé commun, Steve Anderson et Don Hall, réalisateurs du dernier film d’animation dessiné à la main des studios Disney, Winnie l’Ourson, parleront de son processus de fabrication. Suivra une présentation de la création du charmant court métrage, La Balade de Nessie, avec la productrice du film, Dorothy McKim et l’animateur en chef Mark Henn.

Rejoignez les cinéastes derrière l’écran pour parler de l’animation classique, des effets spéciaux, de la recherche et de la distribution de ces oeuvres fraîchement réalisées. Les deux films seront projetés en intégralité avant la présentation.

Cette année les cérémonies de remise des prix du FIAO seront animées par les humoristes Joel Frenzer et Alan Foreman. Le tandem Frenzer-Foreman est la première et la seule baladodiffusion humoristique sur l’animation. Chaque mois, les animateurs Joel Frenzer et Alan Foreman vous nourrissent de leur connaissances encyclopédiques sur l’animation, de leur génie et de leur humilité, et interviewent des collègues qui sont des héros et des légendes des arts de l’animation. L’animation à la radio, c’est comme la photosynthèse sur la lune

OTHER EVENTS / AUTRES ÉVÉNEMENTS

FESTIVAL LOUNGE : CHEZ ANI ARTS COURT STUDIO, 2 DALY AVE., 2ND FLOOR Wednesday 21 & Sunday September 25, 10:30am–6:00pm Thursday 22 to Saturday September 24, 10:30am–1:00am Mercredi 21 et dimanche 25 septembre, de 10h30 à 18h00.

Du jeudi 22 au samedi 24 septembre, de 10h30 à 1h00.

FESTIVAL EVENT: MEET THE FILMMAKERS / ÉVÉNEMENT DU FESTIVAL : RENCONTREZ LES CINÉASTES Presented by / Présenté par: ARTS COURT THEATRE, STUDIO / 2 DALY AVE, 2ND FLOOR Thursday to Sunday Breakfast with the Filmmakers: 9:00am – 9:30am (passholders only) Meet the Filmmakers: 9:30am - 10:45am

Chez Ani is the place where filmmakers and fans alike can get together, socialize and do business – with wireless internet access! Whether stopping in early for a coffee, grabbing a bite or ending the night with a quiet drink or two, Chez Ani can be your go-to place to hang while in Ottawa. Come and have a 3$ bottle of beer!

THÉÂTRE DE LA COUR DES ARTS, STUDIO, 2, AV. DALY, 2E ÉTAGE

Chez Ani est l’endroit où cinéastes et amateurs peuvent se rencontrer, tisser des liens et parler affaires – avec un accès Internet sans fil ! Que vous y passiez tôt le matin pour prendre un café, pendant la journée pour avaler une bouchée ou en fin de soirée pour vous relaxer avec un verre ou deux, Chez Ani peut être votre port d’attache pendant que vous êtes à Ottawa. Venez et commandez une bière à $3!

Meet the Filmmakers on Sunday, September 25 9:30am Competition 4 and Short Films for Kids 11:00am Competition 5 and TV for Kids

ANIBOUTIQUE ARTS COURT STUDIO / COUR DES ARTS - STUDIO Wednesday to Saturday, 9:00am to 9:00pm Sunday, 9:00am to 5:00pm Du mercredi au samedi, de 9 h à 21 h Dimanche, de 9 h à 17 h Looking for the perfect souvenir? Look no further than the Festival’s own bookstore for t-shirts, mugs, posters, water bottles and animation related books and DVDs. There’s a little something for everyone’s budget.

Du jeudi 22 au dimanche 25 sept.

Petit déjeuner avec les cinéastes : de 9h00 à 9h30 Rencontrez les cinéastes : de 9h30 à 10h45 Please note:

Meet the Filmmakers is your chance to ask the filmmakers in competition your questions, exchange comments and share your opinions about films featured the night before. À « Rencontrez les cinéastes », vous aurez l’occasion de poser des questions aux cinéastes en lice, d’échanger des commentaires et de faire connaître vos opinions sur les films projetés la veille.

Complimentary continental breakfast with coffee and tea will be served each morning from 9:00am to 9:30am in the Arts Court Studio next to the theatre. Access elevator B from the Daly Ave. entrance and ride to the top floor.

Un petit déjeuner continental gratuit avec thé et café sera servi tous les matins de 9h00 à 9h30 au Studio de la Cour des Arts (près du théâtre).

Prenez l’ascenseur B dans l’entrée de l’avenue Daly et montez jusqu’au dernier étage.

Vous cherchez le souvenir idéal ? Vous trouverez à la librairie du Festival des t-shirts, des tasses, des affiches, des bouteilles d’eau, des livres sur l’animation et des DVD. Il y a un petit quelque chose pour tous les budgets.

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D BOOK SIGNINGS All merchandise for signings available for sale at the Aniboutique Tous les articles pouvant être dédicacés sont en vente à l’Aniboutique.

JERRY BECK: THE 100 GREATEST LOONEY TUNES Friday, September 23, 10:30am - 11:30am (Arts Court Studio) Vendredi 23 septembre, de 10h30 à 11h30 (Studio de la Cour des Arts)

JOHN CANEMAKER: TWO GUYS NAMED JOE Saturday, September 24, 10:30am - 11:30am (Arts Court Studio) Samedi 24 septembre, de 10h30 à 11h30 (Studio de la Cour des Arts)

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Degas Louise Bourgeois WWW.ANIMATIONFESTIVAL.CA

Carl Beam

Monet

Van Gogh Warhol

Picasso

Emily Carr Arthur Lismer

NATIONAL GALLERY OF CANADA

Louise Bourgeois, Maman (detail), 1999, NGC, Ottawa. © Louise Bourgeois Trust

380, Sussex2011 Drive,LECTEUR Ottawa DU FESTIVAL gallery.ca OIAF 2011 FESTIVAL READER / FIAO 613-990-1985

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2011 INTERNATIONAL JURY: SHORT JURY AARON AUGENBLICK Aaron Augenblick founded Augenblick Studios in 1999. His productions have garnered numerous awards, critical praise, and popular success. Augenblick served as the animation director for two seasons of MTV’s Wonder Showzen. The studio has gained widespread notoriety for their spot-on parodies of classic cartoons, leading Augenblick to be named as a rising star of animation in 2005 by Animation Magazine.

Comedy Central’s Golden Age was created, written, and directed by Aaron Augenblick. The web series was later released as a 22-minute short film which was an official selection of the Sundance Film Festival and was awarded the grand prize for commissioned films by the 2007 Ottawa Animation Festival.

Augenblick was animation director and executive producer for Superjail on Cartoon Network’s Adult Swim, and now serves as animation director, designer, and supervising producer of the Comedy Central horror/ comedy series Ugly Americans.

JAN PINKAVA Jan began his professional career at Digital Pictures in London, animating and directing TV ads and graphics.

Hardened by tight deadlines and inspired by tales of glory, he moved way out west in 1993 to a town called PIXAR. There he got a big hug from John Lasseter and directed several award-winning commercials before striking Oscar® gold in 1998 for Best Animated Short Film Geri’s Game. Jan also pitched in on a number of Pixar’s early features, animating on A Bug’s Life and storyboarding on Toy Story 2 and Monsters, Inc. When invited to create a feature, he eventually came up with Ratatouille, the story of a cooking rat, for which he shared an Oscar® nomination for “Best Original Screenplay” in 2008. More recently, Jan has been working on another original story about a boy and his unusual dog, titled Little White Lie.

MATI KUTT Mati Kütt, painter and director, is one of Estonia’s most talented animators. A budding artist since childhood, he abandoned a career in engineering and began in animation in 1981 with Monument, one of the sections in the compilation film 1+1+1. After collaborating for many years with Avo Paistik at Joonisfilm, in 1989 he embarked on a career as an independent filmmaker with Labyrinth and began one of the most complex and variegated esthetic quests in contemporary animation. His films (including Institute of the Dream, Button’s Odyssey, Smoke, Sprat, Baked in the Sun) combine different techniques such as stop motion, oil painting and pixilation.

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2011 INTERNATIONAL JURY: FEATURE JURY ANNE BROTOT A fine arts student, Anne graduated from the National School of Decorative Arts in Paris (ENSAD), where in 1984, she first experimented with computer graphics in the brand new CG post-graduate course. She was one of the first students in France working on a CG animated short film, which received an award at Eurographic in 1985.

Anne has worked for various French computer graphic companies, including Fantôme, TDI, and Médialad.

From 1991 to 2000, Anne taught Computer Graphics at ENSAD and ENSCI (National school of Industrial Design). In 2000, Anne was involved in the creation of the new Supinfocom School in the south of France (Arles) as the managing director.

In 2008, Anne became the managing director of Supinfocomgroup in Valenciennes which consists of three schools: Supinfocom for Animation, Supinfogame for Vidéo-game and ISD for industrial design.

BILJANA LABOVIC Biljana studied graphic design at the Academy of Arts in Belgrade and started her career as a children’s book illustrator in Serbia. She made her first animated short Non-Stop in 1995 and two years later moved to New York to study animation at the School of Visual Arts, and pursue a career in animation.

For more than ten years, Biljana has been collaborating with Bill Plympton on numerous short films, commercial projects and three feature films. She produced the Academy Award nominee Guard Dog, and produced and co-art directed the award-winning feature, Idiots and Angels. Biljana has also collaborated with director Emily Hubley on the animation for Hedwig and the Angry Inch and Hubley’s feature debut, The Toe Tactic. Her motion graphic work can be seen in the Academy Awarded documentary Freeheld by Cynthia Wade. Currently, Biljana is the animation producer on The Ruined Cast, an animated feature film in preproduction, directed by Dash Shaw and produced by John Cameron Mitchell. She has also been teaching at the School of Visual Arts win New York.

CLAUDE CLOUTIER Born in Montreal, Claude Cloutier studied printmaking and worked as an illustrator before turning to comic strip art, mainly for Croc magazine. He has gained recognition for the meticulous execution of his drawings, which are suggestive of engravings. He joined the NFB in 1986 and directed The Persistent Peddler, which was selected for competition at Cannes in 1989. His next film Overdose (1994), part of the Rights from the Heart series, competed in the 1995 Berlinale.

In 1999, he collaborated on the Gémeaux Award-winning series Science, Please!

After From the Big Bang to Tuesday Morning (2000), he directed Sleeping Betty (2007), which received wide critical acclaim and swept up twenty-three international awards, including a Jutra and a Génie. He is now currently working on a new production with the National Film Board of Canada.

OIAF 2011 FESTIVAL READER / FIAO 2011 LECTEUR DU FESTIVAL

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WWW.ANIMATIONFESTIVAL.CA

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FILMS IN COMPETITION FEATURE COMPETITION

Orange County Surreality | Andy Fedak | USA

Chico & Rita | Fernando Trueba, Javier Mariscal & Tono Errando | Spain

STRATA #3 | Quayola Quayola | UK

Colorful | Keiichi Hara | Japan Dead But Not Buried | Phil Mulloy | UK Taevalaul (Sky Song) | Mati Kütt | Estonia

INDEPENDENT SHORT FILMS COMPETITION NARRATIVE SHORT ANIMATION Blanche Fraise | Frédérick Tremblay | Canada Camels | Jee-youn PARK | South Korea

Sync | Max Hattler | Denmark, Germany, United Kingdom, Netherlands The Deep | PES | USA Two | Steven Subotnick | USA Une seconde par jour (One Second Per Day) | Richard Negre | France

STUDENT ANIMATION COMPETITION HIGH SCHOOL ANIMATION Birds Walking | Stephanie Delazeri | USA

Chroniques de la poisse (Sticky Ends) | Osman Cerfon | France

Buddha Hand’s Up | Min-joo Hong, Ji-seon Kim & Dong-eun Jang | South Korea

Crowded | Luke Sault | UK

I’m Sorry | Bowon Kim, Dasom Yoon & E-sun Jung | South Korea

Das haus (The House) | David Buob | Germany Det siste norske trollet (The Last Norwegian Troll) | Pjotr Sapegin | Norway Frames | Martin Thoburn & Matti Adoma | Germany, USA, Estonia

Lil’ Aliens | Andy London & Peter Ahern | USA Paper Man | David Borish | Canada

UNDERGRADUATE ANIMATION

Guard Dog Global Jam | Bill Plympton | USA

a.breeze.from.mt.Parnassus | Vitaliy Strokous | USA

Haru no shikumi (The Mechanism of Spring) | Atsushi Wada | Japan

Partition | Delia Hess, Eleonora Berra & Shami Lang-Rinderspacher | Switzerland

Made You Cringe | Danny Dresden & Simone Dresden | USA

Paso Doble | Jamie Metzger | Canada

Maly listonosz (Little Postman) | Dorota Kobiela | Poland Moxie | Stephen Irwin | UK Muybridge’s Strings | Koji Yamamura | Canada, Japan

Passenger | Africanus Okokon | USA Reddish Brown & Blueish Green | Samantha Gurry | USA Stay Home | Caleb Wood | USA The Goat and The Well | Ben Cady | UK

Oedipus | Paul Driessen | Canada, Netherlands

GRADUATION ANIMATION

Romance | Georges Schwizgebel | Canada, Sweden

12 Sketches on the Impossibility of Being Still | Magali Charrier | UK

Syntymäpäivä (Birthday) | Jari Vaara | Finland

Animal Kingdom | Nils Hedinger | Switzerland

The Pig Farmer | Nick Cross | Canada

Françoise | Elsa Duhamel | France

Things You’d Better Not Mix Up | Joost Lieuwma | Netherlands

Galeria (Gallery) | Robert Proch | Poland

Umbra | Malcolm Sutherland | Canada

Hinterland | Jakob Weyde & Jost Althoff | Germany

EXPERIMENTAL/ABSTRACT ANIMATION

I’m Fine Thanks | Eamonn O’Neill | UK, Ireland

Bout | Malcolm Sutherland | Canada

Idea ga tsukamaranai (Uncapturable Ideas) | Masaki Okuda | Japan

Eye Liner | Joanna Priestley | USA Heliotropes | Michael Langan | USA

Mannimann | Alexander Gellner | Germany

Keha mälu (Body Memory) | Ülo Pikkov | Estonia

One Minute Puberty | Alexander Gellner | Germany

Kuroi longskirt no onna (Black Longskirt) | Hoji Tsuchiya | Japan

Paint Showers | Miguel Jiron | USA

Many Go Round | Yoshihisa Nakanishi | Japan

Swimming Pool | Alexandra Hetmerova | Czech Republic

Microphobia | Nikki Schuster | Germany, South Africa, Austria

The Renter | Jason Carpenter | USA

OIAF 2011 FESTIVAL READER / FIAO 2011 LECTEUR DU FESTIVAL

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FILMS IN COMPETITION ANIMATION SCHOOL SHOWREEL Bezalel Academy of Arts & Design | Eli Ben David, Ofra Kobliner, Anat Costi, Eran Hilleli, Anna Shevchenko, Hadar Landsberg, Yoav Brill, Shoham Blau & Dotan Goldwaser | Israel Tokyo University of the Arts | Toshiko Hata, ALIMO, Aya Tsugehata, Wataru Uekusa & Ryo Orikasa | Japan

Vetiver ‘Wonder Why’ | Andy London & Carolyn London | USA

FILMS AND VIDEOS MADE FOR CHILDREN SHORT ANIMATION FOR CHILDREN

Rhode Island School of Design | Caleb Wood, Dylan Ladds, Dylan Hayes, Derick Wycherly, Elise Fachon, Africanus Okokon, Leo DeLuzio & Ted Wiggin | USA

Der grosse bruder (The Big Brother) | Jesús Peréz & Elisabeth Huettermann | Switzerland, Germany

COMMISSIONED ANIMATION COMPETITION

Behzad Farahat | Iran

PROMOTIONAL ANIMATION

Keenan at Sea | David Cowles & Jeremy Galante | USA

Advertisers Without Borders ‘Superhero’ | Chan Moon Kien, Lau Kim San & Lim Wei Choon | Malaysia, Argentina Coca-Cola ‘The Siege’ | Fx Goby & Mat Landour | UK Coalition Française pour la Diversité Culturelle ‘Diversité Culturelle (Cultural Diversity)’ | Olivier Martin | France F5 ‘Hello, I Like You’ | Mixtape Club | USA Intel ‘The Chase’ | Adam Foulkes & Alan Smith | UK Milk Dots ‘5s Compilation’ | Isaac King, Steve Angel & Julian Grey | Canada Nissan ‘PLUG, the New World’ | Tsuneo Goda | Japan Oreo Cakesters ‘Magnifying Glass’ | Julian Grey | Canada

Fitting In | Taylor Annisette | Canada Ghessehaye ye Khati 6 (Simple Things 6) | I Can Be President! | Michael Sporn | USA

Marvin | Mark Nute | UK Night Island | Salvador Maldonado | UK, Poland T.H.I.R.S.T. | Joel Frenzer | USA The Fantastic Flying Books of Mr. Morris Lessmore | William Joyce & Brandon Oldenburg | USA Tigeris (Tiger) | Janis Cimermanis | Latvia Top Dog | Fiona Percival | Australia

TELEVISION ANIMATION FOR CHILDREN Adventure Time ‘It Came From The Nightosphere’ | Patrick McHale, Larry Leichliter & Nick Jennings | USA

Oreo Cakesters ‘Scientist’ | Steve Angel | Canada

Das bild der prinzessin (Princess’ Painting) | Johannes Weiland & Klaus Morschheuser | Germany

Oreo Cakesters ‘UFO’ | Philippe Blanchard | Canada

Dodu, The Cardboard Boy ‘The Balloon Moon’ | José Miguel Ribeiro | Portugal

Robin Hood ‘Main Title Animation’ | 2011 | Gianluigi Toccafondo | Acme Filmworks | USA | DIGITAL | 3:10 | Promotional Animation | Cel

Je bent als vlieg nooit veilig (A Fly is Never Safe) | Johan Klungel | Netherlands

Planters ‘Holiday Party’ | Ringan Ledwidge & Mark Gustafson | USA Sapporo ‘Legendary Biru’ | Gary Thomas & Mark Zibert | Canada Sünnipäev (Estonian Ornithology Association ‘Birthday’) | Chintis Lundgren | Estonia The Equality Effect | Andrea Dorfman | Canada

Johnny Test ‘Cat Scratch Johnny’ | Larry Jacobs | Canada Scaredy Squirrel ‘Perfect Pickle’ | Matt Ferguson | Canada The Marvelous Misadventures of Flapjack ‘Fish Out Of Water’ | Thurop Van Orman, John Infantino, John McIntyre, Robert Alvarez, Larry Leichliter & Greg Levitan | USA

Timber | Adam Fisher | USA

Watermill Farm ‘Apple Turnover’ | Trevor Hardy | UK

MUSIC VIDEO

Watermill Farm ‘When the Wind Blows’ | Trevor Hardy | UK

Ho-Ho ‘This Message is Boiling Hot’ | Masanori Okamoto | Japan Joyz ‘Electropia’ | Noriko Okaku | UK, Japan The Hard-Ons ‘Everyone Seems to be Out to Get You’ | Mark Gravas | Australia 77

They Might Be Giants ‘We Live in a Dump’ | David Cowles & Liesje Kraai | USA

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FEATURE COMPETITION / LONG MÉTRAGE EN COMPÉTITION

CHICO & RITA

TAEVALAUL (SKY SONG)

(OTTAWA PREMIERE)

(NORTH AMERICAN PREMIERE)

FERNANDO TRUEBA, JAVIER MARISCAL, TONO ERRANDO | FERNANDO TRUEBA PC | SPAIN | 90MIN

MATI KÜTT | OÜ NUKUFILM | ESTONIA | 45MIN

RECOMMENDED FOR MATURE AUDIENCES ONLY

Thursday, September 22, 7:00 pm, (ByTowne Cinema) - GALA

Wednesday, September 21, 7:00 pm, (ByTowne Cinema) - GALA

Saturday, September 24, 1:00 pm, (Empire Theatres Rideau Centre)

Sunday, September 25, 3:00 pm, (ByTowne Cinema) “This lush and nostalgic animated gem from Spanish artist and designer Javier Mariscal and his compatriot, director and music producer Fernando Trueba, feels like a perfect melding of two distinctive sensibilities to produce a single, impeccable piece of craft. A potted history of the golden age of jazz in the 1940s and ’50s underscores a passionate, globe-hopping love story between Chico, a cocky but endearing jazz pianist, and Rita, a honey-toned chanteuse. They first lock eyes in a Havana dive bar, but opportunities for both of them to realise their dreams and take their music across the globe puts a strain on their romance.

Coming across like an homage to the kind of pulp melodramas Hollywood was producing at the time (A Star Is Born especially), the epic sweep of Trueba’s heart-tugging story is anchored in Mariscal’s gorgeous cityscapes: pre-Castro Havana is a cosy tangle of mottled wood and Tropicana rhythms, while the towering skyscrapers of New York and the sprawling soundstages of Hollywood emphasise just how far – artistically and emotionally – our lovers have come.

The music binds the film and gives it a special cachet: Charlie Parker, Dizzy Gillespie, Chano Pozo and Ben Webster make cameos, and their jazz styles are fondly emulated by Cuban pianist Bebo Valdés. Even Wim Wenders pops up during the epilogue while forming the Buena Vista Social Club. There are moments when a surfeit of in-theknow references tend to overshadow the romance – but you’ll find it too charming to care.”

David Jenkins, Time Out London

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RECOMMENDED FOR MATURE AUDIENCES ONLY

Is it possible to reach the moon in one breath?

Yes, it is if you have the will to fly and the appropriate training. This is the case with postman Rain.

The award-winning Sky Song is a wondrous – and surreal – film with nods to the likes of Salvador Dali, Luis Bunuel and Alfred Hitchcock. Alternating between dark imagery and lightly funny moments, Sky Song is an accomplished puppet animation that has been crafted with love and care and is guaranteed to stay with the audience a long time afterwards.

FEATURE COMPETITION / LONG MÉTRAGE EN COMPÉTITION

COLORFUL

DEAD BUT NOT BURIED

(ONTARIO PREMIERE)

(WORLD PREMIERE)

KEIICHI HARA | FUJI TELEVISION NETWORK, SUNRISE, DENTSU, ANIPLEX, SONY MUSIC ENTERTAINMENT (JAPAN) INC., TOHO | JAPAN | 126MIN

PHIL MULLOY | SPECTRE FILMS | UK | 80MIN

NOT RECOMMENDED FOR YOUNG CHILDREN

Friday, September 23, 6:15 pm, (ByTowne Cinema) - GALA Saturday, September 24, 1:00 pm, (Museum of Civilization) Saturday, September 24, 9:15 pm, (Empire Theatres Rideau Centre) A must for fans of Anime!

The winner of the Special Distinction and Audience award at this year’s Annecy Animation Festival, Colorful tells the moving story of a sinful spirit is granted the opportunity to prove worthy for rebirth, by inhabiting the body of a student who killed himself. Dealing with issues like youth suicide, prostitution and struggling family structures Keiichi Hara proves his distinctive talent to tell realistic stories between playfulness, a deep passion for life and depressing melancholy.

RECOMMENDED FOR MATURE AUDIENCES ONLY

Thursday, September 22, 3:00 pm, (Empire Theatres Rideau Centre) Saturday, September 24, 7:00 pm, (ByTowne Cinema) - GALA Phil Mulloy, a two-time OIAF Grand Prize winner for Best Feature, is back with the final installment in the hilarious and absurd melodrama. Why has Mr. Christie’s body been stolen? Who stole it? Who really is Mr. Yakamoto - a brilliant cartoonist, a genius scientist, or a psychopathic serial killer?

Mrs. Christie sets out on a quest to find her husband. Her journey ends deep in the lava tunnels of Iceland. The second coming! Mister Christie returns!

OIAF 2011 FESTIVAL READER / FIAO 2011 LECTEUR DU FESTIVAL

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SHORT COMPETITION 1 SPONSORED BY / COMMANDITÉ PAR INTENDED FOR MATURE AUDIENCES / RECOMMANDÉ POUR UN PUBLIC AVERTI

Wednesday, September 21, 9:15pm (ByTowne Cinema) – GALA Saturday, September 24, 7:00pm (Empire Theatres - Rideau) Sunday, September 25, 11:00am (ByTowne Cinema)

PAPER MAN 2011 | David Borish | Glebe Collegiate Institute | Canada | DIGITAL | 3:51 | High School Animation | Puppets, Photocopies, Motion Capture, Cut-outs

Paper Man is just an ordinary picture... or is he?

Watch this picture jump out of its frame and come to life, taking a tour around a house that is made for a giant.

THE PIG FARMER 2010 | Nick Cross | Do It For Me Productions | Canada | DIGITAL | 5:05 | Narrative Short Animation | 2D Computer

A simple tale of a wayward soul, awash in an ocean of tragedy and regret.

CHRONIQUES DE LA POISSE (STICKY ENDS) 2010 | Osman Cerfon | France | Je Suis Bien Content | DIGITAL | 6:17 | Narrative Short Animation | 2D Computer

The Poisse is a man with the head of a fish. From his mouth he unleashes bubbles that bring misfortune. One of these hits a character, and the curse is upon them..

TIMBER 2011 | Adam Fisher | MaineFish Productions | USA | DIGITAL | 1:00 | Promotional Animation | Pixilation

A man destroys his beard to make a not-so-subtle point about the need to protect our world’s natural resources.

MANY GO ROUND 2011 | Yoshihisa Nakanishi | Japan | DIGITAL | 6:00 | Experimental/Abstract Animation | Animated Objects

This piece shows crowds of people moving in basic ways, such as walking, running or swimming.

These movements are gradually altered into something rather unique.

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SHORT COMPETITION 1: CONT’D ADVERTISERS WITHOUT BORDERS ‘SUPERHERO’ 2011 | Chan Moon Kien | MFX | Malaysia, Argentina | DIGITAL | 1:00 | Promotional Animation | Cel, Animated Objects

AWB (based in Argentina) wanted to produce a TVC based on their award-winning print ad for a ‘Quit Smoking’ campaign, which featured a superhero tearing off his baju to show a normal business suit underneath.

MALY LISTONOSZ (LITTLE POSTMAN) 2011 | Dorota Kobiela | Breakthru Films | Poland | DIGITAL | 3:22 | Narrative Short Animation | 3D Computer

Set to Chopin’s awe-inspiring revolutionary etude, Little Postman has our hearts beating fast as he shows his determination to deliver war-torn Warsaw’s mail no matter what happens, with a little help from the Flying Machine…

MANNIMANN 2011 | Alexander Gellner | Germany | DIGITAL | 1:43 | Graduation Animation | Cel

Two brothers know an old man since forever. He, of course, has a man inside him and in this man another man. They live in friendly symbiosis. Then they die one after another. The kids are the first to notice.

PAINT SHOWERS 2011 | Miguel Jiron | USA | DIGITAL | 2:27 | Graduation Animation | Paint on Glass, 2D Computer

Out of a swirling cosmos of paint, comes a downpour of color and texture washing over all.

JOYZ ‘ELECTROPIA’ 2011 | Noriko Okaku | UK, Japan | DIGITAL | 4:39 | Music Video | Cut-outs, 2D Computer

A music video for a Japanese band, JOYZ. A journey of a girl who steps into a chaotic world called “Electropia”. “Electropia” is a made-up word, which consists of “Electro” and “Utopia.”

OIAF 2011 FESTIVAL READER / FIAO 2011 LECTEUR DU FESTIVAL

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SHORT COMPETITION 1: CONT’D INTEL ‘THE CHASE’ 2011 | Adam Foulkes & Alan Smith | Nexus Productions | UK | DIGITAL | 1:41 | Promotional Animation | Other

Using a dynamic mix of live action and animation, Nexus directors Smith & Foulkes used every trick in the action movie book and got some hot insider tips from their DOP, Oliver Wood, of Bourne trilogy fame, to create this thrilling spot.

MICROPHOBIA 2010 | Nikki Schuster | Fiesfilm | Germany, South Africa, Austria | DIGITAL | 7:00 | Experimental/Abstract Animation | 3D Computer

Microphobia is about the beauty and uniquness of nature and the desire of her manipulation. A mystical, threatening journey through the hidden and fantastic world of plants.

ROBIN HOOD ‘MAIN TITLE ANIMATION’ | 2011 | Gianluigi Toccafondo | Acme Filmworks | USA | DIGITAL | 3:10 | Promotional Animation | Cel

Hand-painted graphic animation closes the tale that begins the legend of Robin Hood

SWIMMING POOL 2010 | Alexandra Hetmerova | FAMU School | Czech Republic | DIGITAL | 6:34 | Graduation Animation | 2D Computer

Night love story of two outsiders, who meet in a closed swimming pool in the middle of a big city.

STRATA #3 2010 | Quayola | UK | DIGITAL | 7:00 | Experimental/Abstract Animation | 3D Computer

Strata #3 reaches and unveils that which lies beneath the figurative complexity of a painted ceiling, creating a living abstract landscape.

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SHORT COMPETITION 1: CONT’D ANIMAL KINGDOM 2010 | Nils Hedinger | Switzerland | DIGITAL | 3:42 | Graduation Animation | 2D Computer

Raccoon, Fox and Bear are watching an animal documentary in their flat in the suburbs. After a while, Fox starts to behave rather oddly.

A.BREEZE.FROM.MT.PARNASSUS 2011 | Vitaliy Strokous | USA | DIGITAL | 3:00 | Undergraduate Animation | 3D Computer, 2D Computer

A man in a conformist society discovers his individuality.

ROMANCE 2011 | Georges Schwizgebel | National Film Board of Canada & Studio GDS | Canada, Sweden | 35MM | 7:20 | Narrative Short Animation | Pencil on paper, Other

Set to swirling animation and the music of Rachmaninoff, a traveller’s spirit plunges into a world of dreams and desires reminiscent of a grand romantic saga.

SHORT COMPETITION 2 SPONSORED BY / COMMANDITÉ PAR NOT RECOMMENDED FOR YOUNG CHILDREN / RECOMMANDÉ POUR UN PUBLIC AVERTI

Thursday, September 22, 9:15pm (ByTowne Cinema) - GALA Saturday, September 24, 11:00am (Empire Theatres - Rideau) Sunday, September 25, 5:00pm (ByTowne Cinema)

I’M SORRY 2011 | Bowon Kim, Dasom Yoon & E-sun Jung | Korea Animation High School | South Korea | DIGITAL | 8:20 | High School Animation | Pencil on paper

On the field, there are a lot of people in a long line.

At the end of the field, there is a very tall hospital.

One day, there are no more patients coming to the hospital. The assistants leave the hospital, leaving the doctor alone in the dusty office...

TWO 2011 | Steven Subotnick | USA | DIGITAL | 2:30 | Experimental/Abstract Animation | Pencil on paper

A visual dialog based on timing, gesture, markmaking, and sound.

THE RENTER 2011 | Jason Carpenter | USA | DIGITAL | 9:52 | Graduation Animation | 2D Computer

A young boy is dropped off at an elderly woman’s home for the day. Her house sits amongst fields of weeds and rotting pears. A lone man, who rents a room, adds to the unsettling atmosphere. The savage slaughter of a chicken makes this daycare a harsh and confusing world for the boy, who learns caring can be shown in unexpected ways.

THE EQUALITY EFFECT 2010 | Andrea Dorfman | Canada | DIGITAL | 3:00 | Promotional Animation | Ink on paper

This is a PSA for The Equality Effect, a human rights organization working in the justice system towards creating equality for women and girls in Kenya, Malawi and Ghana.

GALERIA (GALLERY) 2011 | Robert Proch | Fine Arts Academy in Poznan | Poland | DIGITAL | 5:00 | Graduation Animation | 2D Computer

Three characters arrive at the strange world of a shopping centre, and in so doing enter a twisted game in which companions become competitors.

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SHORT COMPETITION 2: CONT’D HINTERLAND 2011 | Jakob Weyde & Jost Althoff | HFF Potsdam | Germany | DIGITAL | 9:10 | Graduation Animation | Puppets, Pencil on paper

A crow steals a bear’s new iPod. The bear gets mad.

EYE LINER 2011 | Joanna Priestley | Priestley Motion Pictures | USA | DIGITAL | 3:53 | Experimental/Abstract Animation | 3D Computer, 2D Computer

Bold, crisp, abstract animation that explores archetypes of the human face, patterning and cultural effigies that echo facial features.

PASO DOBLE 2011 | Jamie Metzger | Sheridan College | Canada | DIGITAL | 1:47 | Undergraduate Animation | Pencil on paper, Ink on paper, 2D Computer

In a metaphor for domestic abuse, a man becomes enraged when his dance partner is not interested in doing more than dancing. A fatal bull fight ensues, leaving only one victorious.

UNE SECONDE PAR JOUR (ONE SECOND PER DAY) 2011 | Richard Negre | Badlands Productions | France | DIGITAL | 7:10 | Experimental/Abstract Animation | Pencil on paper, Ink on paper

A one second movie, which means 25 pictures a day for one year, this is the goal.

COCA-COLA ‘THE SIEGE’ 2011 | Fx Goby & Mat Landour | Nexus Productions | UK | DIGITAL | 1:00 | Promotional Animation | 3D Computer

Set in an icy fantasy world, the spot sees an army of fearsome fire warriors poised to descend upon a peaceful community of ice-dwelling creatures.

Accompanying the warriors is a huge firebreathing dragon, which leaves a burning path of destruction in its wake and little doubt as to the outcome for the defenceless villagers.

12 SKETCHES ON THE IMPOSSIBILITY OF BEING STILL 2010 | Magali Charrier | Royal College of Art | UK | DIGITAL | 8:00 | Graduation Animation | Pixilation, Other

12 Sketches on the Impossibility of Being Still is a collection of experiments in animation and editing exploring the spaces where nothing happens: the liminal zone that exists between you and me, between here and there, sound and silence, movement and stillness OIAF 2011 FESTIVAL READER / FIAO 2011 LECTEUR DU FESTIVAL

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SHORT COMPETITION 2: CONT’D F5 ‘HELLO, I LIKE YOU’ 2011 | Mixtape Club | Hornet Inc | USA | DIGITAL | 1:56 | Promotional Animation | Pixilation, Other, 2D Computer

F5 asked Mixtape Club to create a piece for their 2011 Happy Festival in which they created a film about things that make them happy.

DET SISTE NORSKE TROLLET (THE LAST NORWEGIAN TROLL) 2010 | Pjotr Sapegin | Norway | 35MM | 13:00 | Narrative Short Animation | Puppets

In the old days, Norway used to be a safe haven for Trolls, but not anymore. One day, three young goats decide to get rid of an old Troll. Little do they know that he is the last survivor of his species, the very last Troll of Norway...

SHORT COMPETITION 3 INTENDED FOR MATURE AUDIENCES / RECOMMANDÉ POUR UN PUBLIC AVERTI

Thursday, September 22, 3:00pm (ByTowne Cinema) Friday, September 23, 9:15pm (ByTowne Cinema) - GALA Friday, September 23, 9:45pm (Arts Court Theatre) Saturday, September 24, 1:00pm (ByTowne Cinema)

BIRDS WALKING 2010 | Stephanie Delazeri | USA | DIGITAL | 5:14 | High School Animation | Pencil on paper, Ink on paper

Birds Walking is about a worm who wanted to go to a worm and seed convention but ends up at a bird convention and gets eaten.

BOUT 2011 | Malcolm Sutherland | Canada | DIGITAL | 4:55 | Experimental/Abstract Animation | Ink on paper

BOUT - definition 1. A short period of intense activity 2. An attack of illness or strong emotion 3. A wrestling or boxing match

SYNTYMÄPÄIVÄ (BIRTHDAY) 2010 | Jari Vaara | Kuti Kuti | Finland | DIGITAL | 4:21 | Narrative Short Animation | Cut-outs, 3D Computer

Mother wants to give her children a birthday present but dearie is not interested.

ONE MINUTE PUBERTY 2011 | Alexander Gellner | Germany | DIGITAL | 1:41 | Graduation Animation | Cel

Puberty, the fun and exciting times you had with pimples, uncontrolled new powers, and new experiences. This film explores metamorphosis, change and the chaos of becoming a real person.

MUYBRIDGE’S STRINGS 2011 | Koji Yamamura | National Film Board of Canada, NHK and Polygon Pictures | Canada, Japan | 35MM | 12:45 | Narrative Short Animation | Ink on paper

Muybridge’s Strings is a meditation on the nature of time, contrasting the worlds of the photographer Eadweard Muybridge and a mother who, watching her daughter grow up, realizes she is slipping away from her.

OIAF 2011 FESTIVAL READER / FIAO 2011 LECTEUR DU FESTIVAL

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SHORT COMPETITION 3: CONT’D CROWDED 2011 | Luke Sault | UK | DIGITAL | 2:35 | Narrative Short Animation | Pencil on paper, Ink on paper, 2D Computer

The experiences, musings and mutterings of a suffering schizophrenic, illustrated through traditional animation.

OREO CAKESTERS ‘MAGNIFYING GLASS’ 2011 | Julian Grey | Head Gear Animation | Canada | DIGITAL | 0:10 | Promotional Animation | Pencil on paper, 2D Computer

This spot shows the evolution of the Oreo cookie into a big, puffy Cakester using a giant magnifying glass.

MOXIE 2011 | Stephen Irwin | UK | DIGITAL | 5:15 | Narrative Short Animation | Pencil on paper, Ink on paper, 2D Computer

A pyromaniac bear misses his mother.

THE HARD-ONS ‘EVERYONE SEEMS TO BE OUT TO GET YOU’ 2010 | Mark Gravas | Australia | DIGITAL | 2:45 | Music Video | Flash, 2D Computer

Bigfoot encounters loggers, hippies, the power company, angry townsfolk, and finally aliens in his pursuit of some peace and quiet.

IDEA GA TSUKAMARANAI (UNCAPTURABLE IDEAS) 2011 | Masaki Okuda | Tokyo University of the Arts | Japan | DIGITAL | 11:52 | Graduation Animation | Ink on paper

A big man and a tiny man are searching for an idea. Struggling, both men become desperate, and after daybreak the big man is finally struck...

OREO CAKESTERS ‘UFO’ 2011 | Philippe Blanchard | Head Gear Animation | Canada | DIGITAL | 0:10 | Promotional Animation | Other, 2D Computer

This spot shows the evolution of the Oreo cookie into a big, puffy Cakester via extraterrestrial means.

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SHORT COMPETITION 3: CONT’D PASSENGER 2011 | Africanus Okokon | Rhode Island School of Design | USA | DIGITAL | 3:35 | Undergraduate Animation | Pencil on paper

A view from the back seat.

REDDISH BROWN & BLUEISH GREEN 2011 | Samantha Gurry | University of the Arts | USA | DIGITAL | 3:15 | Undergraduate Animation | Animated Objects

Child Services, Schwag, and the American Dream

OREO CAKESTERS ‘SCIENTIST’ 2011 | Steve Angel | Head Gear Animation | Canada | DIGITAL | 0:10 | Promotional Animation | Puppets, Other

This spot shows the evolution of the Oreo cookie into a big, puffy Cakester through rigorous scientific testing.

KUROI LONGSKIRT NO ONNA (BLACK LONGSKIRT) 2010 | Hoji Tsuchiya | Japan | DIGITAL | 8:59 | Experimental/Abstract Animation | Cut-outs

Repeating and copied images bring to life the director’s dream.

I’M FINE THANKS 2011 | Eamonn O’Neill | Royal College of Art | UK, Ireland | DIGITAL | 4:30 | Graduation Animation | 2D Computer

Are you ok?

MADE YOU CRINGE 2011 | Danny Dresden & Simone Dresden | London Squared Productions | USA | DIGITAL | 2:00 | Narrative Short Animation | Flash

You know the feeling you get when you pick up a rock and there’s something wet and squirmy underneath? That’s Made You Cringe, part of an interactive graphic novel project.

OIAF 2011 FESTIVAL READER / FIAO 2011 LECTEUR DU FESTIVAL

90

SHORT COMPETITION 4 NOT RECOMMENDED FOR YOUNG CHILDREN / RECOMMANDÉ POUR UN PUBLIC AVERTI

Thursday, September 22, 11:00am (ByTowne Cinema) Friday, September 23, 10:00am (ByTowne Cinema) Saturday, September 24, 3:00pm (ByTowne Cinema) – GALA

BUDDHA HAND’S UP 2011 | Min-joo Hong, Ji-seon Kim & Dong-eun Jang | Korea Animation High School | South Korea | DIGITAL | 8:15 | High School Animation | Ink on paper

A boy monk lives in a temple with senior monks performing the repetitive daily chores. One day while sweeping, he looks into a pond and is startled by what is reflected on the water...

SYNC 2010 | Max Hattler | Denmark, Germany, United Kingdom, Netherlands | DIGITAL | 9:00 | Experimental/Abstract Animation | 3D Computer, 2D Computer

Sync is a circular looping floor-projection animation installation by filmmaker and media artist Max Hattler.

NISSAN ‘PLUG, THE NEW WORLD’ 2010 | Tsuneo Goda | Japan | DIGITAL | 13:40 | Promotional Animation | 3D Computer

This is the story of PLUG and his friends, who live in the Zero Emission world, sharing energy with each other.

FRANÇOISE 2010 | Elsa Duhamel | EMCA | France | DIGITAL | 2:40 | Graduation Animation | 2D Computer

Françoise tells of an event which upset her life: a rape, when she was 7 years old.

UMBRA 2011 | Malcolm Sutherland | Canada | DIGITAL | 5:45 | Narrative Short Animation | 2D Computer

An explorer adventures into an unknown world, yet it seems that he has been there before.

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SHORT COMPETITION 4: CONT’D THEY MIGHT BE GIANTS ‘WE LIVE IN A DUMP’ 2010 | David Cowles & Liesje Kraai | They Might Be Giants | USA | DIGITAL | 1:40 | Music Video | Puppets, Cut-outs, 2D Computer

Rabbit gets fed up with his messy housemates in the music video for They Might Be Giants.

KEHA MÄLU (BODY MEMORY) 2011 | Ülo Pikkov | OÜ Nukufilm | Estonia | DIGITAL | 9:00 | Experimental/Abstract Animation | Puppets

Our body remembers more than we can expect and imagine, including the stories, sorrow and pain of our parents, grandparents and ancestors.

But, how far back is it possible to go?

SAPPORO ‘LEGENDARY BIRU’ 2010 | Gary Thomas & Mark Zibert | Crush Inc. | Canada | DIGITAL | 2:00 | Promotional Animation | Rotoscope, Motion Capture, Cel, 3D Computer, 2D Computer

A lavish journey though Japan’s rich cultural heritage that reveals the brewing process behind Sapporo beer, and up to the modern neon-lit Tokyo.

PARTITION 2011 | Delia Hess, Eleonora Berra & Shami Lang-Rinderspacher | HSLU Design+Kunst | Switzerland | DIGITAL | 5:40 | Undergraduate Animation | Puppets

Two isolated figures discover friendship and liberation through a disastrous event.

COALITION FRANÇAISE POUR LA DIVERSITÉ CULTURELLE ‘DIVERSITÉ CULTURELLE (CULTURAL DIVERSITY)’ 2011 | Olivier Martin | Doncvoilà - Petite ceinture | France | DIGITAL | 2:35 | Promotional Animation | 2D Computer

To protect and promote the diversity of cultural expressions.

CAMELS 2011 | Jee-youn PARK | Studio Nowornever | South Korea | DIGITAL | 10:30 | Narrative Short Animation | 2D Computer

A couple reunites after many years but, to the woman’s dismay, the man still seems to be looking for something...

THE GOAT AND THE WELL 2010 | Ben Cady | University of Wales, Newport | UK | DIGITAL | 5:17 | Undergraduate Animation | Pencil on paper

The determination of a little goat causes endless problems for a grumpy milking lady. A comic, minimalist exploration of the strained relationships between man and beast.

OIAF 2011 FESTIVAL READER / FIAO 2011 LECTEUR DU FESTIVAL

92

SHORT COMPETITION 5 INTENDED FOR MATURE AUDIENCES / RECOMMANDÉ POUR UN PUBLIC AVERTI

Thursday, September 22, 1:00 pm (ByTowne Cinema) Friday, September 23, 3:00 pm, (National Gallery) Saturday, September 24, 9:15 pm (ByTowne Cinema) - GALA Saturday, September 24, 9:45 pm (Arts Court - Theatre)

LIL’ ALIENS 2011 | Andy London & Peter Ahern | London Squared Productions | USA | DIGITAL | 2:21 | High School Animation | Clay

The universe is a big place and I had the opportunity to go planet hopping this winter. Adult aliens are boring but baby aliens are awesome as shit.

HELIOTROPES 2010 | Michael Langan | USA | DIGITAL | 3:13 | Experimental/Abstract Animation | Photocopies

Heliotropes documents the parallel goals of man and nature, through the most primitive and sophisticated means, to simply stay in the light.

HARU NO SHIKUMI (THE MECHANISM OF SPRING) 2011 | Atsushi Wada | Japan | DIGITAL | 4:20 | Narrative Short Animation | Pencil on paper

Everybody is excited to see the arrival of spring.

This film tries to depict the excitement spring brings.

GUARD DOG GLOBAL JAM 2011 | Bill Plympton | Plymptoons | USA | DIGITAL | 5:17 | Narrative Short Animation | Puppets, Pencil on paper, Ink on paper, Flash, Cut-outs, Clay, Animated Objects, 3D Computer, 2D Computer

In 2010, Bill Plympton decided to remake his 2005 Oscar nominated animated short, Guard Dog, via the internet, with 70 artists from around the world, with different levels of expertise, recreating each shot of the film in their own style.

FRAMES 2010 | Martin Thoburn & Matti Adoma | Germany, USA, Estonia | DIGITAL | 5:04 | Narrative Short Animation | Puppets, Pixilation, Photocopies, Other, Cut-outs, Animated Objects, 2D Computer

Frames is a short mixed media animation about a character who is thrust into different worlds after discovering the artificiality of his own world.

93

SHORT COMPETITION 5: CONT’D SÜNNIPÄEV (ESTONIAN ORNITHOLOGY ASSOCIATION ‘BIRTHDAY’) 2011 | Chintis Lundgren | Chintis Lundgreni Animatsioonistuudio | Estonia | DIGITAL | 0:40 | Promotional Animation | Pencil on paper

It’s the Estonian Ornithology Association’s 90th birthday, and the birds know exactly how to celebrate it.

BLANCHE FRAISE 2011 | Frédérick Tremblay | La Bande Vidéo | Canada | DIGITAL | 16:45 | Narrative Short Animation | Puppets

A couple tries to survive in a dying forest…

PLANTERS ‘HOLIDAY PARTY’ 2010 | Ringan Ledwidge & Mark Gustafson | LAIKA/house | USA | DIGITAL | 0:30 | Promotional Animation | Puppets

The first commercial in an innovative series of stop-motion animation commercials take place during Mr. Peanut’s annual holiday party, giving the first glimpse into his personality and the things he cares about.

VETIVER ‘WONDER WHY’ 2011 | Andy London & Carolyn London | London Squared Productions | USA | DIGITAL | 3:22 | Music Video | Pixilation

A city comes to life in Vetiver’s Wonder Why.

DAS HAUS (THE HOUSE) 2011 | David Buob | Germany | 35MM | 6:48 | Narrative Short Animation | Pencil on paper, 3D Computer, 2D Computer

A little girl tries to care for her grandmother, but her aunt and mother do not let her do so. There is just one way out.

THE DEEP 2010 | PES | PES Productions | USA | DIGITAL | 1:38 | Experimental/Abstract Animation | Animated Objects

Metal objects of the past come to life in the depths of the sea.

OIAF 2011 FESTIVAL READER / FIAO 2011 LECTEUR DU FESTIVAL

94

SHORT COMPETITION 5: CONT’D STAY HOME 2011 | Caleb Wood | Rhode Island School of Design | USA | DIGITAL | 5:36 | Undergraduate Animation | Pencil on paper, Ink on paper

A lone house is home to a dog and cat. The sun shines down, and a day goes by.

MILK DOTS ‘5S COMPILATION’ 2010 | Isaac King, Steve Angel & Julian Grey | Head Gear Animation | Canada | DIGITAL | 0:41 | Promotional Animation | Pencil on paper, Other, Ink on paper, Clay, 2D Computer

Milk Dots is an ad campaign that extols the benefits of drinking milk by presenting its virtues in a series of irreverent and sometimes insane spots.

ORANGE COUNTY SURREALITY 2011 | Andy Fedak | USA | DIGITAL | 3:00 | Experimental/ Abstract Animation | Other

Working at lower oscillation, objects extend out into the world metaphysically, invisible to the eye.

It is a removal of the apparatus for a moment, a reflection upon that moment, and its allegorical extension into space and time.

HO-HO ‘THIS MESSAGE IS BOILING HOT’ 2011 | Masanori Okamoto | Sony Digital Entertainment Service Inc. | Japan | DIGITAL | 2:18 | Music Video | Cut-outs

Set in the city of Tokyo, as a messenger the dancing fire fairy “Ho-Ho” reflects the feelings in peoples’ hearts.

THINGS YOU’D BETTER NOT MIX UP 2010 | Joost Lieuwma | The Drawing Room | Netherlands | DIGITAL | 2:10 | Narrative Short Animation | 2D Computer

A series of things you’d better not mix up.

OEDIPUS 2011 | Paul Driessen | National Film Board of Canada & IL Luster Films | Canada, Netherlands | 35MM | 13:25 | Narrative Short Animation | Other

Parodying the Greek myth, and throwing in a bunch of well known NFB animated characters for good measure, director Paul Driessen offers up a backwards tragicomic version of the classic tale.

Oedipus is Driessen at his absurdist best.

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SHORT FILM COMPETITION FOR KIDS SUITABLE FOR ALL AGES / CONVIENT POUR TOUT PUBLIC

Saturday, September 24, 11:00am (Museum of Civilization) - GALA Sunday, September 25, 3:00pm (Arts Court Theatre)

DER GROSSE BRUDER (THE BIG BROTHER) 2011 | Jesús Peréz & Elisabeth Huettermann | Gerd Gockell Filmproduction | Switzerland, Germany | 35MM | 6:06 | Short Animation for Children | Pixilation, Cel

A film about fun and cruelty among children. Two animated characters develop a life of their own, then humiliate and mock the third unfinished figure; but their temporary superiority shifts, as he turns out to be their big brother.

FITTING IN 2011 | Taylor Annisette | Sheridan College | Canada | DIGITAL | 2:43 | Short Animation for Children | Flash, Other

A little octagon goes to a school of circles and squares, and tries to fit in.

TOP DOG 2011 | Fiona Percival | Australia | DIGITAL | 5:42 | Short Animation for Children | 2D Computer

Top Dog is a film about a dog whose place in the family is usurped by a baby. Top Dog is accused of trying to kill the baby and must use all his cunning to regain his place in the family.

T.H.I.R.S.T. 2011 | Joel Frenzer | USA | DIGITAL | 3:30 | Short Animation for Children | Pixilation, Animated Objects

The Hilarious Incident (of the) Rocket Ship Tent.

Dehydrated children suffer further dry mouth as an unexpected hindrance emerges from the school’s water fountain. Made in one week as part of the NY International Children’s Film Fest.

I CAN BE PRESIDENT! 2011 | Michael Sporn | Michael Sporn Animation, Inc. | USA | DIGITAL | 5:00 | Short Animation for Children | 2D Computer

Three children express their thoughts on the Presidency as well as their hopes of becoming President and what they’ll do in office.

OIAF 2011 FESTIVAL READER / FIAO 2011 LECTEUR DU FESTIVAL

96

SHORT FILM COMPETITION FOR KIDS: CONT’D TIGERIS (TIGER) 2010 | Janis Cimermanis | Animacijas Brigade | Latvia | 35MM | 7:46 | Short Animation for Children | Puppets

A dark caravan arrives in the city during the night.

The next morning, children find a big box left on the street. Strange sounds come from this box.

The famous Rescue Team men have been called in to help…

KEENAN AT SEA 2011 | David Cowles & Jeremy Galante | USA | DIGITAL | 2:05 | Short Animation for Children | 2D Computer

The Girls head out to sea with their trusty companion. Disaster follows.

NIGHT ISLAND 2011 | Salvador Maldonado | Breakthru Films | UK, Poland | DIGITAL | 5:53 | Short Animation for Children | Pencil on paper, 3D Computer, 2D Computer

A merchant ship navigates through a terrible storm. Onboard a young girl tries to save her cat from being washed overboard but a wave takes them both and they are swept into the sea. Waking up on a desolate beach, the girl encounters strange creatures that tempt her to stay on the mysterious island…

GHESSEHAYE YE KHATI 6 (SIMPLE THINGS 6) 2011 | Behzad Farahat | KANOON (Institute for the Intellectual Development of Children & Young Adults) | Iran | 35MM | 1:01 | Short Animation for Children | 2D Computer

Just simple things…

MARVIN 2011 | Mark Nute | UK | DIGITAL | 7:11 | Short Animation for Children | 2D Computer

Marvin was born with a hole in his head. He wasn’t born stupid, he wasn’t born dead...

THE FANTASTIC FLYING BOOKS OF MR. MORRIS LESSMORE 2010 | William Joyce & Brandon Oldenburg | Moonbot Studios | USA | DIGITAL | 15:00 | Short Animation for Children | 2D Computer

Inspired, in equal measures, by Hurricane Katrina, Buster Keaton, The Wizard of Oz, and a love for books, Morris Lessmore is a story of people who devote their lives to books and books who return the favor.

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TV FOR KIDS COMPETITION SUITABLE FOR ALL AGES / CONVIENT POUR TOUT PUBLIC

Thursday, September 22, 1:00pm (Arts Court Theatre) Saturday, September 24, 9:30am (Museum of Civilization) - GALA Sunday, September 25, 3:00pm (Arts Court Theatre)

WATERMILL FARM ‘APPLE TURNOVER’ 2010 | Trevor Hardy | Fool Hardy Films | UK | DIGITAL | 1:00 | Television Animation for Children | Clay

The Watermill Farm animals love a good apple.

JE BENT ALS VLIEG NOOIT VEILIG (A FLY IS NEVER SAFE) 2011 | Johan Klungel | NTR | Netherlands | DIGITAL | 2:28 | Television Animation for Children | Puppets, Ink on paper, 2D Computer

A fly is singing a song about how strange beings called “humans” are always trying to squash him with their flysquatters

SCAREDY SQUIRREL ‘PERFECT PICKLE’ 2011 | Matt Ferguson | Nelvana Limited | Canada | DIGITAL | 12:00 | Television Animation for Children | 2D Computer

Scaredy searches for the perfect pickle.

DAS BILD DER PRINZESSIN (PRINCESS’ PAINTING) 2010 | Johannes Weiland & Klaus Morschheuser | Germany | DIGITAL | 6:30 | Television Animation for Children | 3D Computer

A Princess takes a really close look at a cow…

JOHNNY TEST ‘CAT SCRATCH JOHNNY’ 2011 | Larry Jacobs | Cookie Jar Entertainment | Canada | DIGITAL | 11:00 | Television Animation for Children | Flash

Take one part spiky hair, two parts genius sisters, a dash of talking dog, mix thoroughly and the result is an action-packed animated series about a boy willing to try anything in the name of science.

OIAF 2011 FESTIVAL READER / FIAO 2011 LECTEUR DU FESTIVAL

98

TV FOR KIDS COMPETITION: CONT’D THE MARVELOUS MISADVENTURES OF FLAPJACK ‘FISH OUT OF WATER’ 2010 | Thurop Van Orman, John Infantino, John McIntyre, Robert Alvarez, Larry Leichliter & Greg Levitan | Cartoon Network Studios | USA | DIGITAL | 11:05 | Television Animation for Children | Ink on paper, Clay, 2D Computer

Flapjack and K’Nuckles start drinking candy like a fish, and eventually turn into one; er... two.

ADVENTURE TIME ‘IT CAME FROM THE NIGHTOSPHERE’ 2010 | Patrick McHale, Larry Leichliter & Nick Jennings | Cartoon Network Studios | USA | DIGITAL | 11:40 | Television Animation for Children | Ink on paper, 2D Computer

Against Marceline’s wishes, Finn conjures her father and attempts to reconcile their rocky relationship. But when Marceline’s dear old dad discovers his daughter has turned the family ax into a bass guitar, he takes it from her and starts sucking up all the souls in Ooo!

WATERMILL FARM ‘WHEN THE WIND BLOWS’ 2010 | Trevor Hardy | Fool Hardy Films | UK | DIGITAL | 1:35 | Television Animation for Children | Clay

The Watermill Farm animals find a way to enjoy a windy day.

DODU, THE CARDBOARD BOY ‘THE BALLOON MOON’ 2010 | José Miguel Ribeiro | Portugal | DIGITAL | 5:00 | Television Animation for Children | Puppets, Cut-outs

Dodu is a very sensitive boy who lives in a dangerous city. Forced to spend many hours indoors, he creates imaginary worlds inside an empty cardboard box, each inhabited by singular creatures that help him to cope with his emotions and to grow.

SCHOOL COMPETITION

SCHOOL COMPETITION: RISD / TOKYO UNIVERSITY OF THE ARTS

SCHOOL COMPETITION: BEZALEL ACADEMY OF ARTS & DESIGN

RECOMMENDED FOR MATURE AUDIENCES ONLY/SUGGÉRÉ POUR LES SPECTATEURS MATURES SEULEME

NOT RECOMMENDED FOR YOUNG CHILDREN/PAS RECOMMANDÉ POUR LES JEUNES ENFANTS

Sunday, September 25, 1:00pm (Empire Theatre Rideau)

Sunday, September 25, 3:00pm (Empire Theatres)

TOKYO UNIVERSITY OF THE ARTS

DEPARTMENT OF SCREEN BASED ARTS ANIMATION

Hito no shima (Island of Man) | ALIMO

Befetach beity (On My Doorstep) | Anat Costi

Imamura shouten (Imamura Store) | Aya Tsugehata

Boy | Hadar Landsberg

Yasashii march (The Tender March) | Wataru Uekusa Samayou shinzou (Rootless Heart) | Toshiko Hata

Yoamayim shel geshem (Two Days of Rain) | Dotan Goldwaser Ishihara | Yoav Brill

Scripta volant (Writings Fly Away) | Ryo Orikasa

Bedea tzlula (In a Clear Mind) | Eli Ben David & Ofra Kobliner

RHODE ISLAND SCHOOL OF DESIGN (RISD)

The Good Knight Story | Shoham Blau

Stay Home | Caleb Wood

Bor sood | Anna Shevchenko

Carbon | Dylan Ladds

Beyn dubim (Between Bears) | Eran Hilleli

Playing for Keeeps | Dylan Hayes Figure Throwing a Rock | Derick Wycherly The Passenger | Africanus Okokon Undertow | Elise Fachon Apartment 5A | Leo De Luzio Star Cross | Ted Wiggin

OIAF 2011 FESTIVAL READER / FIAO 2011 LECTEUR DU FESTIVAL

100

INTERNATIONAL SHOWCASE 1 NOT RECOMMENDED FOR YOUNG CHILDREN / PAS RECOMMANDÉ POUR LES JEUNES ENFANTS

Friday, September 23, 9:15pm (Empire Theatres - Rideau) Saturday, September 24, 3:00pm (Arts Court Theatre) Sunday, September 25, 11:00am (Empire Theatres - Rideau)

LA LUNA 2011 | Enrico Casarosa | Pixar Animation Studios | USA | DIGITAL | 5:00 | Narrative Short Animation | 3D Computer

La Luna is the timeless fable of a young boy who is coming of age in the most peculiar of circumstances. Should he follow the example of his Papa, or his Grandpa? Will he be able to find his own way in the midst of their conflicting opinions and timeworn traditions?

TAXONOMY 2011 | Karen Aqua | USA | DIGITAL | 4:08 | Experimental/ Abstract Animation | Pastel on paper, Animated Objects

The animal, vegetable, and mineral kingdoms reside in a state of constant flux, reflecting a world of transience, mutability, and impermanence. Through the metaphor of transformation, this film explores the themes of malleability, instability, and interconnectedness.

HISAB 2011 | Ezra Wube | Ezra Wube Fine Arts | Ethiopia | DIGITAL | 7:56 | Narrative Short Animation | 2D Computer

Hisab is an animated film based on Ethiopian urban folklore. The story follows three animals common to Ethiopian cities (a goat, a donkey, and a dog) on a taxi ride. Through their interactions, the story reveals each animal’s nature.

LA FILLE & LE CHASSEUR (THE GIRL & THE HUNTER) 2010 | Jadwiga Kowalska | Hélium Films & Jadwiga Kowalska | Switzerland | 35MM | 5:23 | Narrative Short Animation | 2D Computer

It’s raining. A small village is in big trouble. The raindrops are actually a young girl’s tears, and it’s up to the hunter to put things in order…

MEIN BRUDER FRANZ (MY BROTHER GREG) 2011 | Philipp Enders | Germany | DIGITAL | 3:00 | Narrative Short Animation | 2D Computer

Greg hates flies. Morning after morning, those little brats bestow a new nightmare upon him.

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INTERNATIONAL SHOWCASE 1: CONT’D PLEASE, CALL BACK LATER 2010 | Yulia Ruditskaya | SICAF | Belarus, South Korea | DIGITAL | 5:15 | Narrative Short Animation | 2D Computer

Escaping from her daily routine, a girl gets into an imaginary city of her dreams - Seoul.

ÁMÁR 2010 | KIMUAK Euskadiko Filmategia - Filmoteca Vasca | Spain | 35MM | 8:10 | Narrative Short Animation | Ink on paper

Inés travels to India to visit her friend Ámár, who has been living in a mental institution for years.

Inés remembers the last days they spent together and her promise to return.

GIPFEL-GIG 2011 | Lukas Egger & Bernhard Bamert | Virage Film | Switzerland | 35MM | 6:00 | Narrative Short Animation | Puppets, Clay

Three musicians go on a spur-of-the moment mountain tour. A summit concert, you might say, on the back of a giant cow, and a helter-skelter tour through Swiss folklore stereotypes which ultimately brings them a degree of satisfaction.

SONNTAG 2 (SUNDAY 2) 2010 | Jochen Kuhn | Germany | DIGITAL | 11:30 | Experimental/Abstract Animation | Other

The second part of a series of Sunday outings, we accompany the flaneur to the last performance of the Krause Theater, which is due to close down.

AND AND 2011 | Mirai Mizue | Japan | DIGITAL | 6:50 | Music Video | Pencil on paper, 2D Computer

Gather! Let’s form the world!

OIAF 2011 FESTIVAL READER / FIAO 2011 LECTEUR DU FESTIVAL

102

INTERNATIONAL SHOWCASE 2 NOT RECOMMENDED FOR YOUNG CHILDREN / PAS RECOMMANDÉ POUR LES JEUNES ENFANTS

Thursday, September 22, 1:00pm (Empire Theatres - Rideau) Saturday, September 24, 11:00am (ByTowne Cinema)

STEPS 2010 | TOCHKA | Japan | DIGITAL | 2:00 | Experimental/ Abstract Animation | Pixilation

From a stereoscopic video installation, STEPS shows the conflict between a young man and the stickman who ridicules him.

SENSOLOGY 2010 | Michel Gagne | USA, Canada | DIGITAL | 6:00 | Experimental/Abstract Animation | 2D Computer

Sensology is an intricately choreographed and playfully intuitive animated visualization of a 1995 landmark improvisational jazz performance.

UNDERLIFE 2010 | Jaroslaw Konopka | Stowarzyszenie Filmowców Polskich, Studio Mlodzi i Film im. A. Munka | Poland | 35MM | 08:32 | Narrative Short Animation | Puppets

Underlife is a film inspired by Lullaby directed by Krzysztof Komeda, which employs metaphor to show the destructive influence that ancestors have on man and poses the question “Can we break from it?”

CLEO’S BOOGIE 2010 | Collective Camera-etc | Camera-etc | Belgium | DIGITAL | 6:21 | Experimental/Abstract Animation | Puppets, Pencil on paper, Cel, 2D Computer

Two old friends, living with their cat in a faded apartment, relive the percussive and furious atmosphere of the Boogie-woogie of their youth.

EATING 2010 | Seung-wook Jang | South Korea | DIGITAL | 9:06 | Narrative Short Animation | Pencil on paper, 2D Computer

Imoha. His situation is not so good. He must dash, otherwise he will be late. Besides, he skipped his breakfast and he is hungry. He runs anyway.

MY...MY...

2011 | Lei Lei | www.raydesign.cn | China | DIGITAL | 4:20 | Narrative Short Animation | Ink on paper, 2D Computer

One day I found myself naked. Where are my clothes?

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INTERNATIONAL SHOWCASE 2 CONTâ&#x20AC;&#x2122;D THE BALLAD OF NESSIE 2011 | Kevin Deters & Stevie Wermers-Skelton | Walt Disney Animation Studios | DIGITAL | 5:00 | Narrative Short Animation | 2D Computer

A story set in the bonny blue highlands of Scotland, and centered on Nessie, the friendly Loch Ness monster, and her best friend MacQuack the rubber duck. Problems arrive in the form of a land developer named MacFroogle, who wants to build a mini-golf empire on top of Nessieâ&#x20AC;&#x2122;s home.

THE MISSING KEY 2011 | Jonathan Nix | Cartwheel Partners Pty Ltd | Australia | DIGITAL | 29:55 | Narrative Short Animation | Pencil on paper, 3D Computer, 2D Computer

In a richly re-imagined Venice of the early 1920s, young composer Hero Wasabi must compete against the unscrupulous Count Telefino in the prestigious Abacus Scroll musical competition.

STUDENT SHOWCASE RECOMMENDED FOR MATURE AUDIENCES ONLY / SUGGÉRÉ POUR LES SPECTATEURS MATURE SEULEMENT

Thursday, September 22, 9:15pm (National Gallery) Saturday, September 24, 1:00pm (Arts Court Theatre) Saturday, September 24, 7:00pm (Arts Court Theatre)

MIGHTY ANTLERS 2011 | Sune Reinhardt | Denmark | DIGITAL | 4:38 | Graduation Animation | 3D Computer

A man drives his car furiously down a narrow road, surrounded by a vast forest. When he encounters a deer in the middle of the road he makes a villainous attempt to ram it. However, this particular hit and run has jaw crushing, battering consequences.

CARPATES EXPRESS 2010 | Doris Bachelier & Maeva Viricel | Georges Méliès | France | DIGITAL | 5:05 | Graduation Animation | 2D Computer

Welcome aboard the Carpates Express, the legendary train that no one has ever heard of.

KATUV B’IPARON (WRITTEN IN PENCIL) 2010 | Yaron Bar | Bezalel Academy of Arts & Design | Israel | DIGITAL | 8:00 | Graduation Animation | Pencil on paper

An everyday train voyage slowly turns into a nightmare.

LANGUAGE 2011 | Yewon Kim | Tokyo Polytechnic University | Japan | DIGITAL | 3:40 | Graduation Animation | 2D Computer

A guy studied a language desperately before a trip. But during the trip, he finally knows that the most important ingredient in communication is heart, not words and knowledge.

ABUELAS (GRANDMOTHERS) 2011 | Afarin Eghbal | National Film and Television School | UK | DIGITAL | 9:14 | Graduation Animation | Other

In a small apartment in Buenos Aires, an old woman eagerly awaits the birth of her grandchild, however horrific circumstances mean that she will be forced to wait for over 30 years. Using real-life testimonials, this animated-documentary raises issues of memory, repression and loss.

LITTLE BOAT 2011 | Nelson Boles | California Institute of the Arts | USA | DIGITAL | 4:00 | Undergraduate Animation | Flash, 2D Computer

A little boat takes a big journey.

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STUDENT SHOWCASE: CONT’D PLUMM 2011 | Andrzej Dybowski, Pawel Blakala, Krzysztof Jedrzejek, Jakub Kosakowski & Przemyslaw Patyk | Poland | DIGITAL | 2:16 | Graduation Animation | 3D Computer

Where the sky falls down on the ground and roofs of houses float above human heads, a little boy travels the world of children’s imagination. In the end, a return to reality awaits that will present the dreamer with a difficult choice.

NA CIDADE 2010 | Delia Hess | Switzerland | DIGITAL | 1:56 | Undergraduate Animation | Ink on paper

The city is old and enduring, yet always in motion.

It strolls, walks, drives and changes in the rhythm of its habitants who come and go like the wind. A short film about arrival in a foreign city.

BEFETACH BEITY (ON MY DOORSTEP) 2010 | Anat Costi | Bezalel Academy of Arts & Design | Israel | DIGITAL | 5:58 | Undergraduate Animation | 2D Computer

Leading a sheltered and lonely life, a young woman’s defenses are compromised; an event which sends her into a spin.

SCRIPTA VOLANT (WRITINGS FLY AWAY) 2011 | Ryo Orikasa | Tokyo University of the Arts | Japan | 35MM | 13:17 | Graduation Animation | Pastel on paper

Somewhere between watching and reading, this film is dedicated to J.L. Borges, a great artist, who had translated The Happy Prince by Oscar Wilde at his early childhood, became one of the greatest writers of the 20th century and continued to publish works by dictation even after losing his eyesight.

HAMBUSTER 2010 | Paul Alexandre, Dara Cazamea, Maxime Cazaux, Romain Delaunay & Laurent Monneron | Supinfocom Arles | France | DIGITAL | 6:00 | Graduation Animation | 2D Computer

Happily having his lunch, a man is suddenly attacked by his own hamburger.

OIAF 2011 FESTIVAL READER / FIAO 2011 LECTEUR DU FESTIVAL

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CANADIAN SHOWCASE NOT RECOMMENDED FOR YOUNG CHILDREN / NON RECOMMANDÉ POUR LES JEUNES ENFANTS

Thursday, September 22, 11:00am (Empire Theatres - Rideau) Friday, September 23, 3:00pm (Arts Court Theatre) Sunday, September 25, 1:00pm (ByTowne Cinema)

FIESTA BRAVA 2011 | Steven Woloshen | Canada | 35MM | 3:26 | Experimental/Abstract Animation | Engraving on Film

For one day each year, bulls will run wild on the streets of Pamplona, Spain. This is what it looks like.

THE GOOD LITTLE BUNNY WITH THE BIG BAD TEETH 2010 | Jessica Borutski | Canada | DIGITAL | 5:51 | Narrative Short Animation | Pencil on paper, Flash, 2D Computer

A satire film about a little Bunny who tries to make friends in a forest full of superficial animals.

Unaware of why he cannot make friends the Bunny becomes lost and confused.

A TAX ON BUNNY RABBITS 2011 | Nathaniel Akin | Riotsquad.TV | Canada | DIGITAL | 2:15 | Narrative Short Animation | 2D Computer

A small solution to a large problem.

AUSCULTATION OF THE HEART 2011 | Marjorie Lemay & Eric Vachon | Mel Hoppenheim School of Cinema | Canada | DIGITAL | 2:22 | Undergraduate Animation | Pixilation, Other

A little house in a mysterious and unpredictable forest is haunted by the ghost of a lost love story. Auscultation of the Heart, set to a heartbeat rhythm, is a filmic experience about the irrationality of love.

SHEARED 2011 | Nikolas Ilic | Sheridan College | Canada | DIGITAL | 1:41 | Graduation Animation | Pencil on paper

The story of a Scottish sheep farmer who shears his sheep and sends them cliffside. It’s not until he comes across a sheep with the power to grow his wool back that he meet his ultimate doom.

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CANADIAN SHOWCASE: CONT’D LA PLAGE (THE BEACH) 2011 | Agathe Bray-Bourret | Mel Hoppenheim School of Cinema | Canada | DIGITAL | 1:56 | Undergraduate Animation | Ink on paper

A calm and pristine beach is ruined by the presence of vulgar tourists. They pick their nose and throw cigarettes on the sand, when suddenly, an unlikely object appears in the sky to save the beach.

WILD LIFE 2011 | Amanda Forbis & Wendy Tilby | National Film Board of Canada | Canada | 35MM | 13:30 | Narrative Short Animation | Pastel on paper

Alberta, 1909. The wide open prairies of the wild west. Enter a well-tailored young Englishman, fresh from the old country. Wild Life is about the beauty of the untamed prairie, the pang of being homesick and the folly of living dangerously out of context.

HOTHOUSE 6 ‘MARVIN PARSON’S INNER WILD WILDERNESS’ 2010 | Fred Casia | National Film Board of Canada | Canada | 35MM | 1:27 | Experimental/Abstract Animation | 2D Computer

Filmmaker Fred Casia, inspired by the iconic ’50svintage View-Master stereo viewer and ’60s-era TV nature shows, takes us on a weird and wacky 3-D safari through the jungle that is the human digestive system.

MY NAME IS MITCH 2011 | Michelle Yoon | Sheridan College | Canada | DIGITAL | 2:45 | Graduation Animation | Pencil on paper, 3D Computer, 2D Computer

A half human, half pigeon man in an all-human society finally learns to accept himself for who he is.

CMYK 2011 | Marv Newland | National Film Board of Canada | Canada | 35MM | 7:13 | Experimental/Abstract Animation | Ink on paper

CMYK is a dizzying celebration of sound, colour and movement. Coloured dots pulsate chaotically, crosshairs roll in a languid motion across the screen and primary shapes perform a compelling dance with ever-changing moods.

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CANADIAN SHOWCASE: CONT’D DIMANCHE (SUNDAY) 2011 | Patrick Doyon | National Film Board of Canada | Canada | 35MM | 10:00 | Narrative Short Animation | 2D Computer

On this particular Sunday, one of the village boys places a coin on the train tracks. Imagine his astonishment when, picking up the coin after a train has run over it, he discovers some amazing changes.

HOTHOUSE 6 ‘BLIND EVOLUTION’ 2011 | Zane Kozak | National Film Board of Canada | Canada | DIGITAL | 1:27 | Experimental/Abstract Animation | 2D Computer

Transformation, technology, higher powers, breath. These ideas and elements roil around inside Toronto artist and filmmaker Zane Kozak’s CG-animated short, taking us on a somewhat troubling but eerily mystical journey from the human form to... something entirely different.

RUMBLESEAT 2011 | Michael Roberts | Duopoly | Canada, USA | DIGITAL | 6:00 | Narrative Short Animation | Cut-outs, Animated Objects, 3D Computer, 2D Computer, Other

Rumbleseat is an animated short film based on the music of The Sadies, set in a world created by animator and director Mike Roberts. Based on classic westerns and rockabilly culture, the film centers around a young man who finds himself in the back of a hot rod occupied by four sinister ghouls.

SECOND HAND 2011 | Isaac King | Head Gear Animation | Canada | DIGITAL | 7:35 | Narrative Short Animation | Animated Objects

The term “second hand” refers to the ticking hand on a clock; it also describes re-used items. Would you rather save time? Or save stuff? This film examines the imbalance and waste created by these modern obsessions.

55 CHAUSSETTES (55 SOCKS) 2011 | Co Hoedeman | National Film Board of Canada, Musivision & Coconino | Canada | 35MM | 8:37 | Narrative Short Animation | Cut-outs

1944-45. The last winter of the war in occupied Holland. There’s nothing to eat in the cities but a few turnips or tulip bulbs. During the long, cold winter of hunger, barter is the only way to survive.

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CANADIAN SHOWCASE: CONT’D VIGOUR 2011 | Chang Dai | Canada | DIGITAL | 1:30 | Graduation Animation | 2D Computer

A celebration of joyful movement, aliveness, hand drawn animation, and sheer Vigour.

MULVAR IS CORRECT CANDIDATE! 2011 | Patrick Désilets | Lokus | Canada | DIGITAL | 1:00 | Narrative Short Animation | 2D Computer

Mulvar is running for office. This is his campaign TV ad.

DEATH BUDGIE 2011 | Ashlyn Anstee | Canada | DIGITAL | 2:00 | Narrative Short Animation | Puppets, 2D Computer

Death Budgie is a short film about a budgie with an attitude problem. He might be Death, but he’s dying to make a friend.

OIAF 2011 FESTIVAL READER / FIAO 2011 LECTEUR DU FESTIVAL

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TAC CANADIAN TV SHOWCASE SUITABLE FOR ALL AGES / CONVIENT POUR TOUT PUBLIC

Thursday, September 22, 3:00pm (Arts Court Theatre) jeudi 22 septembre, 15h00 (Cours des arts – theâtre)

MUDPIT ‘BUGHUNT’ 2011 | Paul Hunt | Cookie Jar Entertainment | Canada | DIGITAL | 24:00 | Television Animation for Children | Other

Each episode features a rockin’ original musical performance by MUDPIT as we follow the band’s exhilarating and often hysterical ups and downs!

Join us to experience high energy, real emotions, and worlds of fun with MUDPIT!

JUSTIN TIME ‘THE VERY LARGE BOOK OF PETS’ 2011 | Harold Harris | Guru Studio | Canada | DIGITAL | 10:30 | Television Animation for Children | 3D Computer

Raja Justin can have whatever pet he wants, so he chooses Tiny, a baby elephant! Justin, Olive and Squidgy learn how to take care of Tiny as they follow the instructions in the Very Large Book of Pets. There are a lot of things to do...and they need to be repeated every day!

STELLA AND SAM ‘TRIP TO CHINA’ 2010 | Raymond Jafelice | Radical Sheep Productions Inc. | Canada | DIGITAL | 12:15 | Television Animation for Children | 2D Computer

Stella and Felix create a colourful school project about China. It fascinates Sam. Especially the picture of a Chinese Dragon. Sam wants to see a real one and Stella is more than happy to make it happen…

TOTAL DRAMA WORLD TOUR ‘THE EX-FILES’ 2010 | Keith Oliver & Chad Hicks | Fresh TV Inc. | Canada | DIGITAL | 22:00 | Television Animation for Children | Flash

Area 51. The challenge: to sneak into Area 51’s Black Box warehouse and steal a functioning alien artifact without getting caught by an elite Black Ops security detail.

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ACTIVITIES FOR TEENS / ACTIVITÉS POUR LES ADOS FREE! ADOBE TOON APPRENTICE PASS / GRATUIT! LAISSEZ-PASSER D’APPRENTI ANIMATEUR ADOBE Saturday, September 24, 9:00am to 6:00pm (all venues) Samedi, le 24 septembre, 9h00 à 18h00 (tous endrois) The Festival is free for teens all day Saturday (9:00am to 6:00pm). Just pre-register for a FREE Adobe Toon Apprentice pass by visiting www. animationfestival.ca or calling 613.232.8769. There will also be a limited number of passes available at our Reception in the Arts Court during the Festival.

FREE! TEEN HANDS-ON WORKSHOP / ATELIER PRATIQUES POURS ADO PRESENTED BY THE NATIONAL FILM BOARD OF CANADA / PRÉSENTÉ PAR L’OFFICE NATIONAL DU FILM

INTRODUCTION TO ANIMATION / INTRODUCTION À L’ANIMATION Saturday, September 24, 9:30am – 4:30pm (National Gallery Studio) Samedi, le 24 septembre, 9h:30-16h30 (Musée des Beaux Arts) PRE-REGISTRATION REQUIRED / INSCRIPTION À L’AVANCE REQUISE 613-232-8769 Leave your computer at home and come explore a hands on animation workshop. This intensive day will let you discover the amazing world of claymation while applying the principles of animation.

Working in two teams we will navigate through the steps involved in the creation of an animated short film. On each set, an animator from the NFB CinéRobothèque will be guiding the team in this incredible endeavor. At the end of the day, each team will have created an animated short film!

THE ARTS CONNECT US

LES ARTS NOUS RELIENT

In 2010-2011, the Ontario Arts Council funded 1,720 individual artists and 1,057 organizations in 223 communities across Ontario for a total of $52.3 million.

En 2010-2011, le Conseil des arts de l’Ontario a octroyé des subventions totalisant 52,3 millions de dollars à 1 720 artistes et 1 057 organismes répartis dans 223 collectivités de la province.

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The Ontario Arts Council Helps Connect the Arts to Us.

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Le Conseil des arts de l’Ontario aide à nous relier aux arts.

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PRODUCTION | INTERACTIVE RICK MORRISON | rick@bigjumpproductions.com TEL: 613 226-5287 | CELL: 613 791-5263 www.bigjumpproductions.com

WWW.ANIMATIONFESTIVAL.CA

KIDS' STUFF / TRUCS POUR ENFANTS FREE! ANIMATION CELEBRATION / GRATUIT! CÉLÉBRATION DE L'ANIMATION

FREE! FAMILY HANDS-ON WORKSHOPS / GRATUIT! ATELIERS PRATIQUES POUR TOUTE LA FAMILLE

Presented by:

Presented by:

PRE-REGISTRATION REQUIRED / INSCRIPTION À L'AVANCE REQUISE (613-232-8769) 2 Showings: Thursday, September 22, 9:30am and 11:00am (National Gallery) Animation Celebration offers Ottawa-area elementary school children (ages 8–12) an introduction to the art of animation. For the 2011 edition, animation industry veteran Larry Jacobs will share stories from behind the scenes of the smash hit Johnny Test!

Experience a whole new side of this exciting TV series, with a demonstration on the creative process of the show. Please sign up beforehand to make sure you don’t miss out!

PRE-REGISTRATION REQUIRED / INSCRIPTION À L'AVANCE REQUISE (613-232-8769) Atelier McLaren SESSION 1: Sunday, September 25, 9:30am to 12:30pm / dimanche 25 septembre, 9h30 à 12h30 (National Gallery) SESSION 2: Sunday, September, 1:30pm to 4:30pm / dimanche 25 septembre, 13h30 à 16h30 (National Gallery) Pre-registration required (613.w232.8769) Jump into the magic of animation with one of Norman McLaren’s favourite techniques: pixilation! Afterwards, you will be asked to make your own version of McLaren’s classic Le Merle (The Blackbird). (Animation of paper cut-outs on a light table.) We ask that every child under 10 be accompanied by an adult. Amazement for all guaranteed!

FAMILY SCHEDULE / HORAIRE POUR LA FAMILLE THURSDAY, SEPTEMBER 22 / JEUDI, LE 22 SEPTEMBRE 9:30am 9:30am - 3:00pm

11:00am 1:00pm

FREE! Animation Celebration (ages 8-12) Pre-registration required 613.232.8769

National Gallery

TOON APPRENTICE DAY FOR TEENS Pre-registration required 613.232.8769

National Gallery

FREE! Animation Celebration (ages 8-12) Pre-registration required 613.232.8769

National Gallery

TV for Kids Competition (ages 4 -12)

Arts Court Theatre

Appetite for Animation (ages 12 +)

National Gallery

3:00pm

TAC Canadian TV Showcase (appropriate for all ages)

Arts Court Theatre

9:15pm

Cartoon Fight Club (appropriate for all ages)

Arts Court

FRIDAY, SEPTEMBER 23 / VENDREDI, LE 23 SEPTEMBRE 9:15pm

Appetite for Animation (ages 12 +) International Showcase 1 (ages 12+)

National Gallery Empire Theatres

SATURDAY, SEPTEMBER 24 / SAMEDI, LE 24 SEPTEMBRE 9:00am - 5pm

9:30am - 4:30pm

Visit animation schools at the Animarket Trade Show FREE! Day-long NFB Animation Workshop for Teens Pre-registration required 613.232.8769

9:30am

TV for Kids Competition (ages 4-12)

11:00am

Short Films for Kids Competition (ages 4 - 12)

3:00pm

4:00pm

National Gallery Watercourt Foyer National Gallery Studio Museum of Civilization Museum of Civilization

International Showcase 2 (ages 12+)

ByTowne Cinema

International Showcase 1 (ages 12+)

Arts Court Theatre

Cartoon Fight Club (appropriate for all ages)

Empire

The Marvelous Adventures of Pen and Thurop (ages 12 +)

Museum of Civilization

SUNDAY, SEPTEMBER 25 / DIMANCHE, LE 25 SEPTEMBRE 9:30am - 12:30pm

11:00am

1:00pm 1:30pm - 4:30pm 3:00pm

FREE! “Atelier McLaren” NFB Workshop for Families Pre-registration required 613.232.8769

The Making of Pixar’s La Luna (ages 12+) International Showcase 1 (ages 12+)

National Gallery Studio

Museum of Civilization Empire Theatres

The Story Behind Winnie the Pooh (All ages)

Museum of Civilization

FREE! “Atelier McLaren” NFB Workshop for Families

National Gallery Studio

Pre-registration required 613.232.8769 Short Films for Kids Competition (ages 4 - 12)

OIAF 2011 FESTIVAL READER / FIAO 2011 LECTEUR DU FESTIVAL

Arts Court Theatre

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PROFESSIONAL DEVELOPMENT AND RECRUITING

If you are working in animation or you want to work in animation, head to the National Gallery of Canada on Saturday, September 24 for a day of special presentations, recruiting and a chance to visit our Animarket trade show featuring software companies, schools and recruiters.

Si vous oeuvrez dans le domaine de l’animation ou souhaitez y faire carrière, rendez-vous à la Galerie nationale du Canada le samedi 24 septembre prochain. Vous aurez alors l’occasion d’assister à des présentations spéciales, en plus de visiter le salon commercial Animarket, à laquelle prendront part diverses sociétés de logiciels, écoles et recruteurs.

PRESENTATIONS / PRÉSENTATIONS Saturday is dedicated to five sessions that will help you and your career in animation. Leaders in the field will share tricks of the trade, providing in depth discussions on various topics, including DIY projects.

Le samedi est consacré à quatre séances qui vous aideront dans votre carrière en animation. Les chefs de file du domaine vous communiqueront leurs trucs du métier et discuteront en profodeur de certains sujets, dont les projets à faire soi-même.

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ANIMARKET TRADE SHOW / SALON COMMERCIAL ANIMARKET SATURDAY SEPTEMBER 24 9AM TO 5PM / 9H À 17H National Gallery of Canada Watercourt Foyer / Galerie nationale du Canada, salle Le Foyer Come and check out the newest software. Don’t miss demos of Sandde, the world’s first freehand S-3D animation system!

Venez découvrir les plus récents logiciels. Ne ratez pas la démonstration de Sandde, le tout premier système d’animation S-3D à main levée au monde!

EXHIBITORS IN THE ANIMARKET / EXPOSANTS AU SALON ANIMARKET: ANIMATION SCHOOLS / ÉCOLES D’ANIMATION: Algonquin College Mel Hoppenheim School of Cinema (Concordia University) Vancouver Film School (VFS)

SOFTWARE COMPANIES / SOCIÉTÉS DE LOGICIELS:

9am

Gimme a Job! How to Impress a Recruiter

11am

Surviving as a Short Filmmaker

1pm

Toon Boom Harmony 9 Presentation (Lecture Hall)

1pm

Web Portfolios

3pm

Directing Animation

Walt Disney Animation Studios

9h

Donne moi une Job! Comment Impressioné un recruteur

ToonBox Entertainment (pre-registration required)

11h

Survive en tant que réalisateur de film cour-métrage

13h

Présentation de Toon Boon Harmony 9 (salle de conférences)

13h

Portfolios en ligne

15h

La réalisation de l'animation

CelAction Toon Boom Animation Inc. TV Paint Développement Janro Imaging Lab

RECRUITERS / RECRUTEURS DE MAIN D’OEUVRE:

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ANIMATORS FOR HIRE / ANIMATEURS À LA RECHERCHE D’UN EMPLOI Pre-register at www.animationfestival.ca to meet with Toonbox and other recruiters in attendance.

PARTIES FOR PASSHOLDERS ONLY

PARTIES FESTIVAL EVENT: OPENING NIGHT PARTY

FESTIVAL EVENT: SATURDAY NIGHT PARTY

Hard Rock Café / www.hardrock.com 73 York Street Wednesday, September 21st, 11:00pm – 2:00am

Ritual Nightclub 137 Besserer Street Saturday September 24, 11:00pm–2:00am

Sponsored by / Commandité par: Hard Rock Café is conveniently located in the middle of the ByWard Market. Two floors of fun

await TAC and Festival passholders! Have a free drink and snacks courtesy of one of Ottawa’s leading animation companies.

Le Hard Rock Café est facilement accessible, situé au centre du Marché By. Deux étages de plaisir attendent les titulaires de laissez-passer du CAT et du Festival ! Le premier verre et les amuse-gueules sont aux frais d’une des principales compagnies d’animation d’Ottawa.

Sponsored by / Commandité par: Animators go wild at this insane dance party held this year at Ritual Nightclub. There’s a quiet area too for people that just want to chat. Have a free drink and snacks on one of Ottawa’s largest animation studios.

Les animateurs se lachent à cette soirée de danse déjantée qui a lieu cette année au Ritual Nightclub.

Il y a aussi une zone tranquille pour les gens qui veulent seulement jaser. Le premier verre et les amuse-gueules sont aux frais d’une des principales compagnies d’animation d’Ottawa.

FESTIVAL EVENT: ANIMATORS’ PICNIC Strathcona Park Corner of Laurier and Charlotte Friday Sept 23, 11:30am–4:00pm Sponsored by / Commandité par: Enjoy our annual picnic located in Strathcona Park, Ottawa’s picturesque green spot on the Rideau River. There will be an assortment of goodies to eat plus the world famous pumpkin carving contest.

Picnic buses will leave the ByTowne Cinema at 11:30am, and after that will pick-up from the Arts Court building starting at 12:00pm. Please note that the park is about a 25min walk from Arts Court (see map on back page).

Profitez de notre pique-nique annuel situé au parc Strathcona, la pittoresque enclave de verdure d’Ottawa sur la rivière Rideau. Il y a aura toutes sortes de bonnes choses à manger, avec en plus le concours de sculpture de citrouilles de renommée internationale. Les autobus pour le pique-nique quitteront le cinéma ByTowne à 11 h 30, puis des départs de l’édifice de la Cour des Arts seront assurés à partir de 12 h. Veuillez noter que le parc est à environ 25 minutes de marche de la Cour des Arts.

FESTIVAL EVENT: CLOSING NIGHT PARTY Arts Court Studio 2 Daly Ave, 2nd Floor Sunday September 25, 9:00pm–1:00am Last but not least, the closing party is the perfect way to end the Festival. Come. Lounge, chat, and drink at this a super send-off for the 2011 Festival.

Until next year…

La dernière soirée n’est pas des moindres : cette soirée de clôture est la façon parfaite de finir le Festival. Paressez, jasez et trinquez à ce superbe adieu au Festival 2011. À l’année prochaine...

OIAF 2011 FESTIVAL READER / FIAO 2011 LECTEUR DU FESTIVAL

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ABOUT THE ARTIST AND AWARDS

OIAF ’11 POSTER

OIAF ’11 AWARDS

Each year, the Ottawa International Animation Festival commissions an artist to create original artwork for celebration and promotion on an international scale.

Figuring out what else your VCR can be sometimes requires a little surgery. I hate throwing things out while there is a chance of further use in them. Everyday technology contains so much intricate material. Creating the illusion of motion, life, and character is essential in my work. Like each of a paintings brush strokes, each piece is important to the final look. Small details help build character. The curve on a typewriter gear could complete the devious crook in a mouth if placed correctly. My final goal is to make you believe that the mass of metal you are looking at could come to life at any moment.» - Tick Tock Tom

The 2011 Festival Poster was designed by renowned illustrator and animator Gary Leib.

Gary has won wide praise for his work as an animator and cartoonist, including a 1994 Harvey nomination for his comic book Idiotland. His illustrations and cartoons have appeared in The New Yorker, Musician Magazine, The New York Observer, Raw, Blab and as weekly features in The New York Press for many years.

Gary has been generous enough to create two variations of this year’s festival poster: the adult version and a family-friendly version The adult poster will be available to purchase at the Aniboutique at this year’s Festival. Be warned: if you look under 25, we will ask for ID!

Tick Tock Tom has been the designer of the Ottawa International Animation Festival Awards since 2009.

FILM CONTACTS / CONTACTS DU FILM 12 Sketches on the Impossibility of Being Still Jane Colling Royal College of Art, Animation Department Kensington Gore, London, UK SW7 2EU Phone: +44.2075904512 Fax: +44.2075904510 Email: jane.colling@rca.ac.uk

55 Chaussettes (55 Socks) NFB Canada

National Film Board of Canada 3155 Cote de Liesse Saint-Laurent, QC, Canada H4N 2N4 Phone: 514.283.9133 Fax: 514.496.6389 Email: festivals@nfb.ca Website: www.nfb.ca/animation

A Tax on Bunny Rabbits Nathaniel Akin

Riotsquad TV 4510 Wilingdon Ave. #302 Powell River, British Columbia, Canada V8A 2M8 Phone: 604.872.8659 Email: hello@riotsquad.tv Website: http://riotsquad.tv

a.breeze.from.mt.Parnassus Vitaliy Strokous

Vitaliy 4258 Flintlock ln Westlake Village, California, USA 91361 Phone: 818.825.7495 Email: vitaliy.st@gmail.com

Abuelas (Grandmothers) Festivals Department

National Film and Television School Beaconsfiled StudiosS Station Road, Beaconsfield, UK HP9 1LG Phone: +44.1494.731452 Email: festivals@nfts.co.uk

Adventure Time ‘It Came From The Nightosphere’

Ámár KIMUAK Euskadiko Filmategia Filmoteca Vasca Avda. Sancho el Sabio 17 - trasera Donostia, San Sebastian, Spain 20010 Phone: 34.943.11.55.11 Fax: 34.943.46.99.98 Email: kimuak@filmotecavasca.com Website: www.kimuak.com

AND AND Mirai Mizue

11-3-A102,Sasame-1,Toda-shi,Saitamaken,335-0034,Japanese Toda-shi, Saitama-ken, Japan 3350034 Email: mirai0714mizue@yahoo.co.jp Website: http://web.mac.com/mirai_mizue/iWeb/MIRAIwebsite

Animal Kingdom Nils Hedinger

Email: info@nilshedinger.ch

Auscultation of the Heart Marjorie Lemay

Concordia University 7007 St-André Montréal, Québec, Canada H2S 2L3 Phone: 514.707.9771 Email: marjorie.lemay@bell.net

Befetach beity (On My Doorstep) Department of screen based arts Bezalel academy of arts & design Bezalel academy of arts & design Mount Scopus campus, P.O. Box 24046 Jerusalem,,Israel 91240 Phone: 972.2.5893340 Fax: 972.2.5893335 Email: festivals-liaison@bezalel.ac.il Website: www.bezalel.ac.il

Department of Screen Based Arts Animation Bezalel Academy of Arts & Design

Kelly Crews Cartoon Network 300 N. Third Street Burbank, California, USA 91502 Phone: 818.729.4012 Email: kelly.crews@turner.com

Mount Scopus campus, P.O. Box 24046 Jerusalem, Israel 91240 Phone: 972.2.5893340 Fax: 972.2.5893335 Email: festivals-liaison@bezalel.ac.il Website: www.bezalel.ac.il

Advertisers Without Borders ‘Superhero’ Lau WaiSan

Birds Walking Stephanie Delazeri

MFX Kuala Lumpur, Malaysia Phone: +603.2141.2219 Fax: +603.2141.2239 Email: waisan@mfx.st Website: www.mfx.st

Los Angeles, USA Email: stephinthebox@sbcglobal.net

Blanche Fraise Frédérick Tremblay

7128 Drolet #15 Montréal, Quebec, Canada H2S 2T6 Email: chlingbing@gmail.com

Bout Malcolm Sutherland

1617 Rue Leclaire Montreal, Quebec, Canada H1V2Z5 Phone: 514.254.5489 Email: animalcolm@yahoo.ca Website: www.oneiropod.com

Buddha Hand’s Up Jungwoon Kim Korea Animation High School 523-4 Changwoo-dong, Hanam City, hanam, Kyungki-do, South Korea Email: cokoma21@nate.com

Camels Rose Chang

INDIESTORY Inc. 4Fl. BaekAk Bldg 135-4 TongIn-dong, Jongno-gu Seoul, ,South Korea 110-043 Phone: +82 2.722.6051 Fax: +82 2.722.6055 Email: indiestory@indiestory.com Website: http://www.indiestory.com

Carpates Express Annabel Sebag

Premium Films 130 rue de Turenne PARIS, France 75003 Phone: 0033.1.42.77.06.39 Email: animation@premium-films. com Website: www.premium-films.com

Chico & Rita Claire Thibault

The Festival Agency Email: info@thefestivalagency.com Website: www.thefestivalagency.com

Chroniques de la poisse (Sticky Ends) Mikhal Bak 60 rue du 19 Mars 1962 Champigny-sur-Marne, France 94500 Phone: +33.979.34.99.02 Email: mikhal.bak@gmail.com Website: http://www.studio-wasia. com/promofilms/menu.html

Cleo’s Boogie Dimitri Kimplaire

Camera-etc Rue de Visé, 490 Liège-Wandre, Liège, Belgium B-4020 Phone: +32.4.253.59.97 Fax: +32.4.252.56.31 Email: dimitri.kimplaire@camera-etc. be Website: www.camera-etc.be

CMYK NFB Canada

National Film Board of Canada 3155 Cote de Liesse Saint-Laurent, QC, Canada H4N 2N4

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FILM CONTACTS / CONTACTS DU FILM Phone: 514.283.9133 Fax: 514.496.6389 Email: festivals@nfb.ca Website: www.nfb.ca/animation

Coalition Française pour la Diversité Culturelle ‘Diversité Culturelle (Cultural Diversity)’ Virginie Giachino Doncvoilà - Petite ceinture 6 passage de la fonderie Paris, France 75011 Phone: +33952621331 Fax: +33957621331 Email: festivals@doncvoila.net

Coca-Cola ‘The Siege’ Fernanda Garcia Lopez

Nexus Productions 113-114 Shoreditch High St London, UK E1 6JN Phone: 020.7749.7500 Email: fernanda@nexusproductions. com

Colorful Masaki Fujiwara

Toho Co., Ltd. Phone: +81.3.3591.3530 Fax: +81.3.3591.6610 Email: ma_fujiwara@toho.co.jp

Crowded Luke Sault

Sunniside Farm. Coalbrookdale Telford, Shropshire, UK TF8 7EX Email: luke_sault@msn.com

Das bild der prinzessin (Princess’ Painting) Carsten Bunte Studio Soi GmbH & Co. KG Königsallee 43 Ludwigsburg, Germany 71638 Phone: +49.0. 7141.9743670 Fax: 125131 Email: contact@studiosoi.de Website: www.studiosoi.de

Das haus (The House) David Buob

Thomasstrasse 59 Berlin, Germany 12053 Phone: +49.17696369485 Email: david@davidbuob.de Website: http://www.dashaus-animation.de/

Dead But Not Buried Phil Mulloy

Spectre Films Waterside, Wheatleys Eyot Lower Sunbury, Middlesex, UK TW16 6DA Phone: 01932766149 Email: philmulloy@hotmail.com Website: http://www.philmulloy.com

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Death Budgie Ashlyn Anstee

5761 St George Street Vancouver, British Columbia, Canada V5W2Y4 Phone: 905.616.7239 Email: ashlyn.anstee@gmail.com Website: ashlyna.blogspot.com

Der grosse bruder (The Big Brother) Gerd Gockell Gerd Gockell Filmproduction Pelikanstr. 8 Luzern, Switzerland 6004 Phone: 004.77.486.86.16 Email: gerd.gockell@hslu.ch

Det siste norske trollet (The Last Norwegian Troll) Arna Bersaas

Norwegian Film Institute P.O. Box 482 Sentrum, Dronningensgate 16 Oslo, Norway 0105 Phone: +472.247.4500 Fax: +472.247.4597 Email: amb@nfi.no Website: http://www.nfi.no/english

Dimanche (Sunday) NFB Canada

National Film Board of Canada 3155 Cote de Liesse Saint-Laurent, QC, Canada H4N 2N4 Phone: 514.283.9133 Fax: 514.496.6389 Email: festivals@nfb.ca Website: www.nfb.ca/animation

Dodu, The Cardboard Boy ‘The Balloon Moon’ Liliana Costa

AGÊNCIA - Portuguese Short Film Agency Auditorio Municipal, Pr da Republica Vila do Conde, Portugal 4480-715 Phone: 00351252646683 Email: liliana@curtas.pt

Eating Yoon-jung Yi

KIAFA [Ani SEED] 2F 282-6 Ahyeon-Dong, Mapo-Gu Seoul, ,South Korea 120-190 Phone: +82.2.313.1030 Fax: +82.2.313.1039 Email: kiafanews@naver.com Website: http://www.kiafa.org

Eye Liner Joanna Priestley

Priestley Motion Pictures 1801 NW Upshur, Ste. 630 Portland, OR, USA 97209 Phone: 1 503 274 2158 Email: joanna@primopix.com

F5 ‘Hello, I Like You’ Brittany Summitt

Hornet Inc 116 W Houston St., Fourth Floor New York City, USA 10012 Phone: 917.351.0520x14 Email: brittany@hornetinc.com

Fiesta Brava Steven Woloshen

5787 rue Cartier Montreal, QC, Canada H2G 2V1 Phone: 514.270.3563 Email: swoloshen@hotmail.com

Fitting In Taylor Annisette

295 Flanders Road Tecumseh, Ontario, Canada N8N 3G2 Phone: 905.510.5104 Email: tay.annisette@gmail.com Website: http://www.tayannisette. blogspot.com/

Frames Martin Thoburn

311 W. Forest Ave.,Apt. 1 Ypsilanti, Michigan, USA 48197 Email: gradek@gmail.com Website: http://www.martin-thoburn. com

Françoise Anne LUCAS

ANGOULEME, France Email: alucas@angouleme.cci.fr

Galeria (Gallery) Zofia Scislowska

Krakow Film Foundation ul. Basztowa 15/8a Krakow, Poland, 31-143 Phone: +48122946945 Fax: +48122946945 Email: zofia@kff.com.pl

Geidai Animation Hiromitsu Murakami

Tokyo University of the Arts Bankokubashi Kaigi Center 3F, 4-23 Kaigan do-ri, Naka-ku Yokohama, Kanagawa, Japan 2310002 Phone: +81.45.227.6041 Fax: +81.45.227.6042 Email: hiromitsumurakami@gmail. com Website: http://www.geidai.ac.jp/

Ghessehaye ye Khati 6 (Simple Things 6) Behzad Farahat

KANOON (Institute for the Intellectual Development of Children & Young Adults) Hejab St., Fatemi Ave. Tehran, Iran 14156 Phone: 0098.21.88971371

FILM CONTACTS / CONTACTS DU FILM Fax: 0098.21.88821121 Email: intl_affairs@jamejam.net Website: www.kanoonparvaresh.com

Gipfel-Gig Simon Koenig

Swiss Films Av. De la Praille 48 Carouge, Switzerland 1227 Phone: 41.22.308.12.40 Fax: 41.22.308.12.41 Email: skoenig@swissfilms.ch Website: www.shortfilm.ch

Guard Dog Global Jam John Holderried

Plymptoons 153 W27th St., #1005 New York, NY, USA 10001 Phone: 212.741.0322 Fax: 212.741.5522 Email: plymptoons@aol.com Website: www.plymptoons.com

Hambuster Annabel Sebag

Premium Films 130 rue de Turenne PARIS, France 75003 Phone: 0033.1.42.77.06.39 Email: animation@premium-films. com Website: www.premium-films.com

Haru no shikumi (The Mechanism of Spring) Atsushi Wada

Ichinotsubo 63 A-1 Nakahara-ku, Kawasaki, Kanagawa, Japan 211-0016 Phone: +81.90.9117.2496 Email: wada@kankaku.jp

Heliotropes Michael Langan

3 Linnaean St., #32 Cambridge ,Massachusettes, USA 02138 Email: michael@mlangan.org Website: LanganFilms.com

Hinterland Cristina Marx

HFF “Konrad Wolf” University of Film & TV Marlene-Dietrich-Allee 11 Potsdam-Babelsberg, Germany 14482 Phone: +49.331.6202.564 Fax: +49.331.6202.568 Email: distribution@hff-potsdam.de Website: www.hff-potsdam.de

Hisab Ezra Wube

Ezra Wube Fine Arts 706 California Street, B Santa Cruz, CA, USA 95060 Phone: 917.302.0903 Email: emailezra@gmail.com Website: www.ezrawube.net

Ho-Ho ‘This Message is Boiling Hot’ Oka Kaori

Sony Digital Entertainment Service 8-1 35F Akashi-cho,Chuo-ku Tokyo, Japan 104-0044 Phone: 81.3.5551.0871 Fax: 81.3.5551.0842 Email: Kaori.Oka@jp.sony.com Website: http://sonydes.jp/

Hothouse 6 ‘Blind Evolution’ NFB Canada

National Film Board of Canada 3155 Cote de Liesse Saint-Laurent, QC, Canada H4N 2N4 Phone: 514.283.9133 Fax: 514.496.6389 Email: festivals@nfb.ca Website: www.nfb.ca/animation

Hothouse 6 ‘Marvin Parson’s Inner Wild Wilderness’ NFB Canada

National Film Board of Canada 3155 Cote de Liesse Saint-Laurent, QC, Canada H4N 2N4 Phone: 514.283.9133 Fax: 514.496.6389 Email: festivals@nfb.ca Website: www.nfb.ca/animation

I Can Be President!

Michael Sporn

Michael Sporn Animation, Inc. 35 Bedford St., Basement NYC, NY, USA 10014 Phone: 212.242.0647 Fax: 212.242.0647 Email: msanimation@aol.com Website: http://www.michaelspornanimation.com

I’m Fine Thanks Eamonn O’Neill

Royal College of Art 31 Jacobson Court, 10 Surrey Lane London, UK SW11 3PP Phone: +44 (0) 75.8046.7370 Fax: +44 (0) 75.8046.7370 Email: eoneillanimation@gmail.com Website: www.eamonnoneill.ie

I’m Sorry Jungwoon Kim

Fax: +81.45.227.6042 Email: hiromitsumurakami@gmail. com Website: http://www.geidai.ac.jp/

Intel ‘The Chase’ Fernanda Garcia Lopez

Nexus Productions 113-114 Shoreditch High St London, UK E1 6JN Phone: 020.7749.7500 Email: fernanda@nexusproductions. com

Je bent als vlieg nooit veilig (A Fly is Never Safe) Johan Klungel Klungel Tweede Atjehstraat 58hs Amsterdam, Netherlands 1094 LK Phone: 0031625036041 Email: Johan@Klungel.com Website: www.Klungel.com

Johnny Test ‘Cat Scratch Johnny’ Matthew Haliniak Toronto, Canada Email: mhaliniak@cjar.com

Joyz ‘Electropia’ Noriko Okaku

6 Anthony Cope Court, Chart Street London, UK N1 6DF Email: info@norioka.net Website: www.norioka.net

Justin Time ‘The Very Large Book of Pets’ Barbara Deignan

Guru Studio Email: Barbara.Deignan@gurustudio. com

Katuv B’Iparon (Written in Pencil) Yaron Bar Miriam Ha-chashmonait 24 Tel Aviv, Israel 62665 Phone: 2523588618 Email: rugggger@yahoo.co.uk Website: www.yaronbar.com

Keenan at Sea David Cowles

Korea Animation High School 523-4 Changwoo-dong, Hanam City, Hanam, Kyungki-do, South Korea Email: cokoma21@nate.com

775 Landing Road North Rochester, NY, USA 14625 Phone: 585.490.5467 Email: dvdcowles@yahoo.com Website: http://www.davidcowles.net

Idea ga tsukamaranai (Uncapturable Ideas) Hiromitsu Murakami

Keha mälu (Body Memory) Maret Reismann

Tokyo University of the Arts Bankokubashi Kaigi Center 3F, 4-23 Kaigan do-ri, Naka-ku Yokohama, Kanagawa, Japan 2310002 Phone: +81.45.227.6041

OU Nukufilm Niine 11 Tallinn, Estonia 10414 Phone: +372. 641.4307 Fax: +372.641.4307 Email: nukufilm@nukufilm.ee Website: http://www.nukufilm.ee

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A proud supporter of the 2011 Ottawa International Animation Festival

http://canada.usembassy.gov/

FILM CONTACTS / CONTACTS DU FILM Kuroi longskirt no onna (Black Longskirt) Hoji Tsuchiya 27-5 takanodai kodaira, tokyo, Japan 187-0024 Email: hooji@hotmail.co.uk

La fille & le chasseur (The Girl & The Hunter) Jadwiga Kowalska Hertensteinstr. 35 Lucerne, Switzerland 6004 Email: contact@0x2a.ch

La Luna Chris Wiggum

Pixar Animation Studios 1200 Park Ave. Emeryville, CA, USA 94608 Phone: 510.922.4177 Fax: 510.922.3800 Email: cwiggum@pixar.com

La plage (The Beach) Agathe Bray-Bourret

1283 rue Bernard O., #3 Montreal, Quebec, Canada H3T-1R9 Phone: 514.510.3320 Email: spagathe@gmail.com Website: http://agathebb.wordpress.com/, or : http://vimeo.com/ user3589833

Language Yewon Kim

Hanam-City, South Korea Email: ianhiro@naver.com

Lil’ Aliens Andy London

London Squared Productions 98 Clifton Place Brooklyn, New York, USA 11238 Email: andysaullondon@gmail.com Website: www.londonsquared.net

Little Boat Nelson Boles

268 W Verdugo Ave Apt. 202 Burbank, CA, USA 912502 Email: nelsonboles@gmail.com Website: vimeo.com/nelsonboles

Made You Cringe Danny Dresden

bitteschön.tv Lehmbruckstraße 8 Berlin, Germany 10245 Phone: +49.0.30.92107534 Email: mail@gellnerism.com Website: www.gellnerism.com

Many Go Round Yoshihisa Nakanishi

205, Kuree-tokumaru,1-48-11, Tokumaru TOKYO, Itabashi-ku, Japan 175-0083 Phone: 81-3-6780-4986 Fax: 81-3-6780-4986 Email: oneminute@jcom.home.ne.jp Website: http://members3.jcom. home.ne.jp/oneminute/index.html

Marvin Mark Nute

Brighton, UK Phone: +44.07787532161 Email: marknute@googlemail.com Website: www.marknute.com

Mein bruder franz (My Brother Greg) Philipp Enders Maybachstr. 48b Koeln, Germany 50670 Phone: +4922175944491 Email: philipp.enders@web.de

Mudpit ‘Bughunt’ Matthew Haliniak

Toronto, Canada Email: mhaliniak@cjar.com

Mulvar is Correct Candidate!

Patrick Désilets

Freelance 257 Villeneuve Ouest, App 12 Montreal, Quebec, Canada H2V 2R2 Phone: 514.436.8814 Email: patdesilets@hotmail.com Website: patrickdesilets.com

Muybridge’s Strings NFB Canada

National Film Board of Canada 3155 Cote de Liesse Saint-Laurent, QC, Canada H4N 2N4 Phone: 514.283.9133 Fax: 514.496.6389 Email: festivals@nfb.ca Website: www.nfb.ca/animation

My Name is Mitch Michelle Yoon

2600 Kenna Crt. Mississauga, ON, Canada L5K2K6 Phone: 905 580 6346 Email: michelle_n_yoon@hotmail. com

My...My...

Lei Lei

Microphobia Nikki Schuster

Fiesfilm Franz-Mehring Platz 1 / 746 Berlin, Germany 10243 Email: nikkischuster@fiesfilm.com Website: www.fiesfilm.com

Tsinghua University 210-3-1403 Beiyuan Road NO86 Chaoyang District Beijing China Beijing, China 330002 Phone: 86 01084869158 Email: milk527@gmail.com Website: http://www.raydesign.cn

Mighty Antlers Jody Ghani

Na Cidade Delia Hess

The Animation Workshop Kasernevej 5 Viborg, Denmark 8800 Phone: +4587554900 Fax: +4587554901 Email: OWFestival@animwork.dk Website: www.animwork.dk

Milk Dots ‘5s Compilation’ Leah Wesolowski

London Squared Productions 98 Clifton Place, apt 2c Brooklyn, New York, USA 11238 Email: andy@londonsquared.net Website: www.londonsquared.net

Head Gear Animation 25 Brant Street, 301 Toronto, Ontario, Canada M5V 2L9 Phone: 416.408.2020 Fax: 416.408.2011 Email: leah@headgearanimation.com

Maly Listonosz (Little Postman) Maja Grudzinska

Moxie Stephen Irwin

Breakthru Films Sp. z o.o., Siewna 15 Lodz, Poland 94-250 Phone: +48.42.2532814 Fax: +48.42.2532808 Email: maja@breakthrufilms.pl Website: http://breakthrufilms.pl/

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Mannimann Alexander Gellner

small time inc.

51 Hargrave Mansions, Hargrave Road London, UK N19 5SR Phone: 02075020640 Email: stephen@smalltimeinc.com Website: www.smalltimeinc.com

Luzern, Switzerland Email: mail@deliahess.ch

Night Island Salvador Maldonado

Breakthru Films Flat 44, 15 Hoxton square London, UK N1 6NT Phone: 07912660874 Fax: Email: salvamal@gmail.com Website: http://cargocollective.com/ salvadormaldonado#739245/Salvador-Maldonado-2010

Nissan ‘PLUG, the New World’ Tomoko Kitazaki Tokyo, Japan Email: kitazaki@dw-f.jp

Oedipus NFB Canada

National Film Board of Canada 3155 Cote de Liesse Saint-Laurent, QC, Canada H4N 2N4 Phone: 514.283.9133

FILM CONTACTS / CONTACTS DU FILM Fax: 514.496.6389 Email: festivals@nfb.ca Website: www.nfb.ca/animation

One Minute Puberty Alexander Gellner

bitteschön.tv Lehmbruckstraße 8 Berlin, Germany 10245 Phone: +49 (0)30 /92107534 Email: mail@gellnerism.com Website: www.gellnerism.com

Orange County Surreality Andy Fedak Syracuse, NY, USA Email: andyfedak@gmail.com

Oreo Cakesters ‘Magnifying Glass’ Leah Wesolowski

Head Gear Animation 25 Brant Street, 301 Toronto, Ontario, Canada M5V 2L9 Phone: 416.408.2020 Fax: 416.408.2011 Email: leah@headgearanimation.com

Oreo Cakesters ‘Scientist’ Leah Wesolowski

Head Gear Animation 25 Brant Street, 301 Toronto, Ontario, Canada M5V 2L9 Phone: 416.408.2020 Fax: 416.408.2011 Email: leah@headgearanimation.com

Oreo Cakesters ‘UFO’ Leah Wesolowski

Head Gear Animation 25 Brant Street, 301 Toronto, Ontario, Canada M5V 2L9 Phone: 416.408.2020 Fax: 416.408.2011 Email: leah@headgearanimation.com

Paint Showers Miguel Jiron

3232 Descanso Dr., Apt 8 Los Angeles, USA 90026 Email: mibaji@gmail.com

Paper Man David Borish

137 Howick street Ottawa, Ontario, Canada K1M 0G9 Phone: 613.240.8374 Email: davidbb99@hotmail.com Website: www.wix.com/davidbb99/ davidborish

Partition Delia Hess

Luzern, Switzerland Email: mail@deliahess.ch

Paso Doble Jamie Metzger

235 Lincoln Rd. Waterloo, Ontario, Canada N2J 2P4

Email: jamiesmetzger@yahoo.ca

Website: www.nfb.ca/animation

Passenger Africanus Okokon

Rumbleseat Michael Roberts

2 College St. Box #1298 Providence, Rhode Island, USA 02903-2717 Email: aokokon@risd.edu

Planters ‘Holiday Party’ Alise Munson

LAIKA/house 1400 NW 22nd Ave. Portland, USA 97210 Phone: 503.276.0110 Email: festivals@laika.com Website: http://www.laika.com

Please, Call Back Later Yulia Ruditskaya Independent Kiselev str. 16, apt. 14 Minsk, ,Belarus 220029 Phone: +375297509219, +79854171514 Email: mizuka@yandex.ru

Plumm Andrzej Dybowski

Sopot, Wybickiego 42a/2, Poland Phone: 0048694234705 Email: dybowski.andrzej@yahoo.com

Reddish Brown & Blueish Green Samantha Gurry 31 Beacon Ave. Apt. 1F Jearsy City, NJ, USA 07306 Email: Samgurry@gmail.com

Rhode Island School of Design Animation Rebecca Paiva Rhode Island School of Design 2 College Street FAV Department Providence, RI, USA 02903 Phone: 401.454.6233 Fax: 401.454.6356 Email: rpaiva@risd.edu

Robin Hood ‘Main Title Animation’ Ron Diamond

A C M E F I L M W O R K S, I N C. 6525 Sunset Boulevard, Garden Suite 10 Los Angeles, California 90028 Phone: 323.464.7805 Fax: 323.464.6614 Website: http://www.acmefilmworks. com

Romance NFB Canada

National Film Board of Canada 3155 Cote de Liesse Saint-Laurent, QC, Canada H4N 2N4 Phone: 514.283.9133 Fax: 514.496.6389 Email: festivals@nfb.ca

51 St Nicholas Ave.,#3a New York, NY, USA 10026 Phone: 347 331 2141 Email: mikemikemotorbike@gmail. com Website: www.bennybrady.com

Sapporo ‘Legendary Biru’ Elly Bendavid

Crush Inc. 439 Wellington St. West, 3rd Floor Toronto, Ontario, Canada M5V1E7 Phone: 416.345.1936 Fax: 416.345.1965 Email: elements@crushinc.com Website: www.crushinc.com

Scaredy Squirrel ‘Perfect Pickle’ Magan Vanderlip

Nelvana/Corus Entertainment Corus Quay 25 Dockside Drive Toronto, ON, Canada M5A 0B5 Phone: 416.479.6669 Fax: 416.479.7005 Website: www.nelvana.com

Scripta volant (Writings Fly Away) Hiromitsu Murakami

Tokyo University of the Arts Bankokubashi Kaigi Center 3F, 4-23 Kaigan do-ri, Naka-ku Yokohama, Kanagawa, Japan 2310002 Phone: +81.45.227.6041 Fax: +81.45.227.6042 Email: hiromitsumurakami@gmail. com Website: http://www.geidai.ac.jp/

Second Hand Isaac King

Head Gear Animation 55 Dovercourt Rd. Toronto, Ontario, Canada M6J 3C2 Phone: 416.408.2020 Email: isaacjayking@gmail.com Website: isaacking.net

Sensology Michel Gagne

1225 E. Sunset Dr.,Ste 145 PMB 336 Bellingham, WA, USA Email: gagneint@aol.com Website: www.gagneint.com

Sheared Nikolas Ilic

24 Vista Terrace Guelph, Ontario, Canada N1E 1A5 Phone: 416.995.2115 Email: nikolasilic5@gmail.com Website: http://www.nikolas-ilic. blogspot.com/

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FILM CONTACTS / CONTACTS DU FILM Sonntag 2 (Sunday 2) Jochen Kuhn

Richard-Wagner-Straße 1 Ludwigsburg, Germany 71638 Email: julia.urban@filmakademie.de Website: www.jochenkuhn.de

Stay Home Caleb Wood

PO Box 3229-09 Olneyville Providence, RI, USA 02909 Phone: 952.270.5318 Email: cwood@risd.edu

Stella and Sam ‘Trip to China’ Heather Wilson Radical Sheep Productions 3 Church Street, Suite 603 Toronto, ON, Canada M5E 1M2 Phone: 416.539.0363 Fax: 416.539.0496 Email: hwilson@radsheep.com

STEPS Tamaki Okamoto

CaRTe bLaNChe Phone: +33 1 70 32 39 16 Email: tmk@c-a-r-t-e-blanche.com Web: http://c-a-r-t-e-blanche.com/

STRATA #3 Amandine Boué

Autour De Minuit Productions 21 rue Henri Monnier Paris, France 75009 Phone: +33.14.281.1728 Fax: +33.14.281.1729 Email: festivals@autourdeminuit.com Website: http://blog.autourdeminuit.com

Swimming Pool Alexandra Hetmerova

osvoboditelu 82/48 Kromeriz - Vazany, Czech Republic 767 01 Phone: +420.602861564 Email: alexandra.hetmerova@email.cz Website: www.alexandrahetmerova.blog.cz

Sync Max Hattler

www.maxhattler.com 6 Anthony Cope Court, Chart Street London, UK N1 6DF Phone: +447811581655 Email: katie@maxhattler.com Website: http://www.maxhattler.com

Sünnipäev (Estonian Ornithology Association ‘Birthday’) Chintis Lundgren Moora, 11 Tallinn, Estonia 11625 Phone: +372.51930739 Email: chintis14@yahoo.com Website: www.chintislundgren.com

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Syntymäpäivä (Birthday) Jari Vaara

Freelancer Aleksis Kiven Katu 12 e 187 Helsinki, Finland 00500 Email: jarivaara@rocketmail.com Website: www.kutikuti.com

T.H.I.R.S.T. Joel Frenzer

Frenzer Foreman Animation Forum 76 Wallace St. #1 Somerville, Massachusetts, USA 02144 Email: jfrenzer@gmail.com

Taevalaul (Sky Song) Maret Reismann

OU Nukufilm Niine 11 Tallinn, Estonia 10414 Phone: +372.641.4307 Fax: +372.641.4307 Email: nukufilm@nukufilm.ee Website: http://www.nukufilm.ee

Taxonomy Ken Field

Cambridge, MA, USA 02139 Phone: 617.491.1917 Email: ken@kenfield.org Website: http://kenfield.org

The Ballad of Nessie Julia Orr

Walt Disney Animation Studios 2100 Riverside Drive Burbank, CA, USA 91506

The Deep Sarah Phelps

The Good Little Bunny With The Big Bad Teeth Jessica Borutski

Warner Brothers Ottawa, ON, Canada Email: jessicaborutski@hotmail.com

The Hard-Ons ‘Everyone Seems to be Out to Get You’ Mark Gravas Kapow Pictures Studio 33 6-8 Herbert Street St Leonards, NSW, Australia 2087 Phone: 02.9439.0399 Email: mark@kapowpictures.com Website: www.kapowpictures.com

The Marvelous Misadventures of Flapjack ‘Fish Out Of Water’ Pernelle Hayes Cartoon Network Studios 300 N. 3rd Streeet Burbank, CA, USA 91502 Phone: 818.729.4332 Email: pernelle.hayes@turner.com

The Missing Key Jonathan Nix

Cartwheel Partners Pty Ltd PO Box 2308 Clovelly Sydney, NSW, Australia 2031 Phone: +61. 2.96649577 Email: CHARMBAND@HOTMAIL. COM Website: www.cartwheelpartners. com

The Pig Farmer Nick Cross

PES Productions Santa Monica, CA, USA Phone: 917.589.2539 Email: sarah@eatpes.com Website: http://www.eatPES.com

Do It For Me Productions 1657 Erindale Cres. ON Oshawa, ON, Canada L1G 8A4 Phone: 289.927.1785 Email: nikcross@hotmail.com Website: www.pyatyletka.com

The Equality Effect Andrea Dorfman

The Renter Jason Carpenter

1621 Preston Street Halifax, Nova Scotia, Canada B3H 3V2 Email: dorfmanorama@gmail.com

The Fantastic Flying Books of Mr. Morris Lessmore Trish Farnsworth-Smith Email: trish@moonbotstudios.com

The Goat and The Well Ben Cady

Royal College of Art, London Rookley Cottage, Up Somborne Stockbridge, Hampshire, UK So20 6qy Phone: 07749.612.070 Email: bencady123@hotmail.co.uk

1048 18th St., Apt. 7 Santa Monica, CA, USA 90403 Phone: 661.904.0393 Email: jason@therenter.net Website: www.therenter.net

They Might Be Giants ‘We Live in a Dump’ Liesje Kraai c/o LBI USA LLC 332 Keap St., Apt. 2L Brooklyn, NY, USA 11211 Email: liesje.kraai@gmail.com Website: www.liesjekraai.com

FILM CONTACTS / CONTACTS DU FILM Things You’d Better Not Mix Up Ursula van den Heuvel Netherlands Institute for Animation Film St. Josephstraat 135 Tilburg, Netherlands 5017GG Phone: 0031.13.5324070 Fax: 0031.13.5800057 Email: heuvel@niaf.nl Website: www.niaf.nl

Tigeris (Tiger) Zanda Dudina

National Film Centre of Latvia Peitavas 10/12 Riga, Latvia LV1050 Phone: +37167358858 Email: zanda.dudina@nfc.gov.lv Website: www.nfc.lv

Timber Adam Fisher 1825 SE 12th ave. Apt. 4 Portland, OR, USA 97214 Email: adamfish@gmail.com Website: www.mainefishproductions. com

Top Dog Fiona Percival

293 Gilbert St. Adelaide, Australia 5000 Email: fpercival@adelaide.on.net

Total Drama World Tour ‘The Ex-Files’ Julie Nguyen Fresh TV Inc. 237 Wallace Ave Toronto, ON, Canada M6H 1V5 Phone: 416.531.8585 x230 Fax: 416.516.8093 Email: julie@freshtvinc.com Website: www.freshtvinc.com

Two Steven Subotnick

228 Gano St. Providence, RI, USA 02906 Phone: 401.421.8984 home Email: ssubotnick@cox.net

Umbra Malcolm Sutherland

Independent 1617 Rue Leclaire Montreal, Quebec, Canada H1V2Z5 Phone: 514.254.5489 Email: animalcolm@yahoo.ca Website: www.oneiropod.com

Underlife Anna Waszczuk

Se-ma-for Film Foundation Targowa 1/3 B.24 Lodz, Poland 90- 022 Phone: +48.42.681.54.74 Fax: + 48.42.682.26.01 Email: a.waszczuk@se-ma-for.com

Une seconde par jour (One Second Per Day) Richard Negre

8 rue de la grande chaumière Paris, France 75006 Phone: +33.1.46.33.41.83 Email: richardnegre@yahoo.fr Website: www.richardnegre.com

Vetiver ‘Wonder Why’ Andy London

London Squared Productions 98 Clifton Place Brooklyn, New York, USA 11238 Email: andysaullondon@gmail.com Website: www.londonsquared.net

Vigour Chang Dai

223 Willowdale Ave Toronto, Ontario, Canada M2N 4Z4 Email: chang.dai.anim@gmail.com

Watermill Farm ‘Apple Turnover’ Trevor Hardy

Fool Hardy Films 49 Monks Close Lancing, West Sussex, UK BN15 9DB Phone: 0.190.360.0484 Email: werbs.hardy@ntlworld.com Website: http://www.foolhardyfilms. com

Watermill Farm ‘When the Wind Blows’ Trevor Hardy

Fool Hardy Films 49 Monks Close Lancing, West Sussex, UK BN15 9DB Phone: 0.190.360.0484 Email: werbs.hardy@ntlworld.com Website: http://www.foolhardyfilms. com

Wild Life NFB Canada

National Film Board of Canada 3155 Cote de Liesse Saint-Laurent, QC, Canada H4N 2N4 Phone: 514.283.9133 Fax: 514.496.6389 Email: festivals@nfb.ca Website: www.nfb.ca/animation

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6-11 pm, Mon-Fri at Rideau Centre Citipark garages.

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$5.00 parking max rate

THE EXCHANGE

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Proud supporters of the Ottawa International Animation Festival 2011.

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www.downtownrideau.com

FESTIVAL ORGANIZATION & STAFF

From left to right: Kelly Neall, Chris Robinson, Azarin Sohrabkhani, Dominique Forget, Matt Rosen, Jennifer Zaret, Lynn Ringer, Kiera Annett, Keltie Duncan, Daniel Kaunisviita, Katarina Marojevic, Joan Pike, Ross Proulx, Marieke van der Velden, Claire Brewster, Meg Green, Clémence Braggard & Bubba

FESTIVAL ORGANIZATION The Ottawa International Animation Festival is a component of the Canadian Film Institute

CANADIAN FILM INSTITUTE Director: Tom McSorley Programmer: Jerrett Zaroski Sponsorship Coordinator: Jennifer Zaret

BOARD OF DIRECTORS

Managing Director: Kelly Neall Artistic Director: Chris Robinson TAC & Workshop Director: Azarin Sohrabkhani Office & Logistical Coordinator: Dominique Forget Technical Director: Matt Rosen Sponsorship Coordinator: Jennifer Zaret

Bartender: Lori Stanton Drivers: Ashley Culp, Petr Maur Competition and Showcase Selection: Chris Robinson and Matt Rosen with assistance from Jerrett Zaroski, Dominique Forget and Azarin Sohrabkhani Competition and Showcase Programmer: Chris Robinson Additional Programmers: Matt Rosen, Dominique Forget, Madi Pillar, Jerry Beck, Tom McSorley, David Verrall

Jack Horwitz chair

Box Office Coordinator: Lynn Ringer

Michael Leong treasurer

TAC Assistant: Kiera Annett

Sandra MacDonald vice:chair

Programming Assistant: Keltie Duncan

Tom McSorley secretary

Media & Marketing Coordinator: Daniel Kaunisviita

Writers: Chris Robinson, Matt Rosen, Dominique Forget, Madi Pillar, Jerry Beck, Tom McSorley, and David Verrall.

Workshop Assistant: Katarina Marojevic

Graphic Design: Ross Proulx

Communications Officer: Joan Pike

Poster Illustration: Gary Leib

Graphic Designer: Ross Proulx

Signal Film: Ace & Son Moving Pictures Co. LLC

Russell Mills Susan Scotti Claude Faubert Peter Fleming

2011 TAC ADVISORY COMMITTEE We work closely with these industry insiders when brainstorming topics of discussion and improvements to our upcoming event.

Mary Bredin, VP Development and

Acquisitions (Guru Studio)

Ken Faier, President (Nerd Corps

Entertainment)

Alan Gregg, Director of Original Con-

tent (TELETOON Canada)

Matt Hornburg, Partner/Producer

(marblemedia)

Lenora Hume, Experienced Production

Executive

Luis Lopez, Director, Studio Operations

(Corus Entertainment, Nelvana)

Linda Simensky, VP Children’s Programming (PBS) Caroline Tyre, Director of Programming

(TELETOON Canada)

Matthew Wexler, Executive Producer

(Spin Master Entertainment)

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2011 OTTAWA INTERNATIONAL ANIMATION FESTIVAL

Volunteer Coordinator: Marieke van der Velden Special Events Coordinator: Claire Brewster / Véronique Juneau: Guest Services Coordinator: Meg Green /Sophia Pacheco Aniboutique Manager / Office Assistant: Lisa Meuser High School Intern: Jeff Collins Intern: Clémence Braggard Arts Court Stage Manager Day: Keltie Duncan Arts Court Venue Manager Day: Keeley Durocher Arts Court Stage Manager Evening: Patrick Dolan Arts Court Venue Manager Evening: Rhiana Labbé Empire Stage Manager: Melissa Loyola Empire Venue Manager: Ally Seon Yul Park Museum of Civilization Stage Manager: Patrick Cross Museum of Civilization Venue Manager: Martine Forget National Gallery Venue Manager: Carolyn Arbuckle

FESTIVAL READER: Editor: Chris Robinson

Sponsor Logo Reel: Dainty Productions, Inc. Printer: Motion Creative Printing Travel Agency: Far Horizons Travel Special Thanks: Betty, Jarvis and Harrison Neall, Jordan Bell, Grace Irving, Josh Zaret, Cheryl Mayhew, Jersey, Peanut, Molly and Pookie, Diesel, Stella, Ashlene Rossiter, Chris Simonite, Tom Knott, Michael Fukushima, Patricia Burns, Bruce White of the ByTowne Cinema, Marc Bedard of the National Gallery of Canada, Yves Poirier at the Museum of Civilization, Dean Leland at Empire Theatres, Donna Williams at Arts Court Foundation. Of course, there are always a few names that get left out, but we know who you are, and we are grateful for all that you’ve done.

Finally, we thank all of our hardworking volunteers; we could not do this without you!

CITY MAP / CARTE DE LA VILLE

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ByTowne Cinema Empire Theatre Rideau Centre Museum of Civilization National Gallery Chateau Laurier Arts Court Novotel Hotel & Trio Ritual Nightclub Avant-Garde Bar Smoke’s Poutinerie Pita Pit Social Black Tomato Mamma Grazzi’s Ottawa School of Art Courtyard Restaurant SideDoor Contemporary Kitchen Vineyard’s Wine Bar & Bistro

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Luxe Bistro Kinki: Asian-Fusion Restaurant Play Wine & Food Blue Cactus Mambo Nuevo Latino Stella Osteria Hard Rock Café Domus Café Sweetgrass Aboriginal Bistro Bridgehead Coffeehouse Milk Boutique Victoire Boutique Chez Lucien Market Organics Milano’s Pizza Darcy McGee’s Mags & Fags Oz Kafé

VENUES ARTS COURT 2 Daly Ave., Suite 120, Ottawa

NATIONAL GALLERY OF CANADA 380 Sussex Dr., Ottawa

BYTOWNE CINEMA 325 Rideau St., Ottawa

FAIRMONT CHÂTEAU LAURIER 1 Rideau St., Ottawa

CANADIAN MUSEUM OF CIVILIZATION 100 Laurier St, Gatineau

NOVOTEL 33 Nicholas St., Ottawa

OIAF 2011 FESTIVAL READER / FIAO 2011 LECTEUR DU FESTIVAL

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www.lienmultimedia.co m WWW.ANIMATIONFESTIVAL.CA Le Lien MULTIMÉDIA

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portail d’information pour les professionnels des nouveaux médias

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www.boutiqueTECHNO.com

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CONVERGENCE le magazine de la culture numérique

Daily news Video Interviews • Job offers First Canadian Coast-to-Coast VIDEO GAME Industry Guide

www.videoGAMEScanada.ca

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Above left to © KRÁTKÝ FI

THE HAND (1965): THIS CLASSIC 19-MINUTE FILM WAS BANNED BY THE CZECH GOVERNMENT FOR 20 YEARS ... WHO SAYS ANIMATION IS KIDSTUFF? Classics, icons and masterpieces.

111 films and 150 years of animation history.

A Canadian exclusive at Glenbow Oct 8–Dec 24.

Above left to right: Max Fleischer, Betty Boop, 1932–39. © BFI National Archive; Stephen and Timothy Quay, In Absentia, 2000. © BFI National Archive; Jiří Trnka, The Hand, 1965. © KRÁTKÝ FILM PRAHA a.s.; Willis O’Brien, The Lost World, 1925. © Lobster Films Collection; Run Wrake, Rabbit 2005. Courtesy of Run Wrake amd LUX, London

Exhibition curated by Barbican Art Gallery, London

OTTAWA 10 FESTIVAL READER / LECTURE DU FESTIVAL