csulli at saic.edu
Sat Feb 27 01:25:53 EST 2010
Hi Thyrza, when you decide what is hardy and what is not is can always lead to
trouble, trouble is good, I go there all the time.
Temporality and time are pretty big issues. I think as an animator one of
the real challenges is presenting real time images, with silence and stillness.
Animation is often thought of as something that should be clear, informational,
and when one drifts from that. audiences can be confused.
In the new film Country Doctor, by Koji Yamamura , there is a bit of this.
the film is beautiful, but sometimes you want it to shut up, visually and audio
wise (I would say this about my work too) . but perhaps it is animators trying
to respond to audiences desire for clarity. I want Prit Pran who I love, to
shut up sometime. But animators feel compelled to clarify and give context,
perhaps it is an impulse from animation being a commercial vehicle for humor,
for most of it's life.
Igor Zovalov, is willing to shut up, which I like(see Milch) very
depressing but interesting. by the way, I love the Quays and they are
paramount, but I would like to here people talk about some of the other great
animators who are out there now. have a good day.
Quoting T Goodeve <tgoodeve at gmail.com>:
> Hello everyone:
> I'm not sure I posted correctly. I sent this last night as a reply. Sorry if
> I'm confusing anyone. Thyrza
> Sorry Ive been so lax as a discussant-generator but here I am with some
> thoughts and reflections. If its okay just an aside first: off the top of
> my fingertipsmany of you make stuff you love and live for, also write about
> with great passion, and the animated worldscape is still and ever will be
> one of magic and wonder I hope (you have the romantic here), i.e., endless
> visual and aural reimagings via its ability, or definition, whether anlogue
> or digital, to do anything and everything within and beyond the spacetime
> continuum. But sometimes I miss the basic humor, wonder, and sheer wow of
> the simplicity of animation. I mentioned in a post. The blank page and the
> dot. We lose track, myself included, analyzing the life out of things
> sometimes and to do this with animation seems particularly perverse. I
> realize I set myself up for a bit of ridicule here but alas, someone has to
> speak up for the puppet doll in *Street of Crocodiles* who cradles the bare
> light bulb baby in its arm and brings it back to life with light, or the
> frayed and earnest bunny who does his best to keep up with the spinning
> demented ping pong balls and a pair of disembodied knee socks and slippers
> moving up and down on tip toes in the Quays Are We Still Married up and
> down, up and down. I think Christopher Sullivan was trying to get at this
> but not evieryone is out to do what he does nor interested in the way I am or
> the Quays or for that matter, those who use it for visualization, but
> depending on why you do what you do we are here to discuss the breakthrough
> insights of theory and technology and animation, but its just sometimes
> Ive felt weve let the technology get away with doing too much of the
> talking, not that it doesnt have a lot to say.
> But a more hardy, if overly general, topic is temporality and time, now-time
> vs say the way cinemas capturing, sculpting, control of time was such a
> huge part of its magic. Siegfried Kracauer describe in an essay how powerful
> just having the wind in the trees a moment captured on film is for him.
> How different from one of my students when I showed some film, perhaps
> Tarkovsky, Why does he keep leaving the camera on the trees so long?
> Students of cinema are different. We know this: ADD and short digitized
> attention spans. But how do you see this in your worlds of animation either
> in terms of resistance or something emerging that is part of this. One thing
> I thought was very relevant was the post of the shift tilt which is amazing
> and disturbing in this respect. Lots to say about it: not only the time
> lapse but the way the world is miniaturized. Here the real profilmic world
> is literally made into an stop motion animated cartoon. One could talk
> about the Quays work and time both in terms of period and affect; rhythm
> and texture of their worlds (*In Absentia*, the film they made with
> Stockhausen, is in some ways about light/time, metaphorically written all at
> once over and over (the character n the film) hence no time. Endless time.
> Speed of light
.) But I do not know what people have seen. I am more
> interested in hearing you all discuss temporality and animation todayboth
> theoretically and examples. These discussions are so energetic. They amaze
> Thanks, Thyrza
Dept. of Film/Video/New Media
School of the Art Institute of Chicago
112 so michigan
Chicago Ill 60603
csulli at saic.edu
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