Ever wonder what’s hip and happening in Canadian animation these days? I thought so. I found out and explained in a piece for Toronto Film Scene. Check it out.
Much as it is with all kinds, genres, and flavors of film making, Toronto (and Canada in general), is ripe with animation talent. However, as in other areas of film making, animators face the same Canadian disparity between production and distribution, between output and demand. Or rather, animators face those disparities when feeding content down the tried-and-true entertainment channels of festivals, theatrical releases, and television. But what if the Canadian animation community is uniquely geared to exploiting newer and more direct distribution channels? TFS recently sat down with Mike Valiquette, Director of Development at Smiley Guy Studios, publisher of Canadian Animation Resources, and all around animation know-it-all, to take the pulse of Canadian animation. CLICK HERE TO READ THE REST.
I’m not sure I’m cool enough to hang out with animators, but I did have the opportunity to talk with Madi Piller, the current president of the Toronto Animated Image Society. What do they do? In a nutshell, they love animation and do everything possible to nurture, promote, and propagate it. I can think of worse pass times. Check out my conversation with Madi at Toronto Film Scene.
Since 1984, the Toronto Animated Image Society (TAIS) has encouraged animation as an art form. The artist-run, not-for-profit organization is deeply committed to animation and those who create it, but in the most practical terms. With a fully-equipped animation studio in Liberty Village, TAIS provides affordable access to specialized equipment. Through talks with master animators, workshops, monthly “Incubators,” and annual animation showcases, TAIS promotes the exchange of information, ideas, and encourages animators to do what they do best: animate. CLICK HERE TO READ THE REST
One of the distinct pleasures of watching silent movies is witnessing the birth of an art form. Techniques were not established, narrative forms were not structured, there was no such thing as trope. In watching silent movies, you can see the invention of all the things we now accept as standard not only from year to year and movie to movie, but almost from scene to scene. The Lost World (1925), the very first feature length animated film, does not disappoint on this level. Loosely adapted from Sir Arthur Conan Doyle’s The Lost World, the movie was directed by Henry O. Hoyt and features pioneering claymation work from Willis O’Brien (the same O’Brien who will bring us much more perfected techniques eight years later in King Kong). Read the rest of this entry
Today would be the 112th birthday of pioneering animator, Lotte Reiniger. To celebrate, BFI has posted several of her shilouette animations at Daily Motion. These are not to be missed!
Hansel & Gretel (1954)
The Death Feigning Chinaman (1928)