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Women Cinemakers actual materials as well, performing physical acts like flipping pages, moving, painting, tearing. We often incorporate the use of our bodies and different body parts in our projects. So that, in fact, all the human figures shown in the film, in addition to the body parts (those which were not taken from the catalogues) were played by us. Rich with symbolic references, Re-organization creates entire scenarios out of images belonging to universal imagery: what are you hoping Re-organization will trigger in the audience? Moreover, how open would you like your work to be understood? As animators, both in our everyday jobs as well as in our formal training, we are guided by the desire for absolute control over the end product and the viewer’s experience of it. In animation, you have the opportunity to attend to every aspect of the frame. When you create every frame out of scratch and pixelate each figure and break up each movement into tiny units, every single detail becomes a matter of choice. The lengthy process required to complete such work allows you to examine every detail and consider the way it promotes the general idea. Considering the amount of work it takes to produce a film, artists generally fear that all their hard work will be in vain - that the movie will be misunderstood, its intention unclear, consequently justifying an extensive period of pre-production and planning. And short films … Well, this format invites some kind of “efficiency” in transmitting a “message” in a short time. In our work we try to liberate ourselves from these conditions. We are not interested in conveying a single idea to the audience, but rather seek to involve viewers in the very questions that occupy us, in all those associations and connections that flood our minds. Every creative process for us is an opportunity to observe the world and through this to learn about ourselves. Similarly, we hope

Profile for WomenCinemakers

WomenCinemakers, Special Edition  

WomenCinemakers, Special Edition  

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