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意大利当代动画 Rosario老罗 音乐与动画:运动+情感 嘉宾QA
from: liff.cafa.edu.cn time: 2019.4.2
F-2
15:40 02/04/19 CM (Q&A)
19:00 03/04/19 RL
Music and Animation: motion + emotion

主持嘉宾Host guest: Rosario Sarpato 老罗
从历史先锋派(如奥斯卡·费申格的抽象电影)开始,动画与音乐的关系就一直非常密切。几十年来,这种联系得到了巩固,甚至通过著名的故事片,从迪士尼的《幻想曲》(Fantasia)——动画片中有古典音乐的对白——到乔治•邓宁(George Dunning)的《黄色潜水艇》(Yellow潜水艇)——几位英国动画师的作品为披头士(Beatles)的流行音乐服务——都是如此。从80年代开始,随着视频音乐的到来,与音乐相关的视听作品的制作也越来越多。
除了过去十年制作的一些意大利音乐视频,我推荐的短片还包含了一点对莱昂纳多·卡雷诺(Leonardo Carrano)的致敬,他是意大利最重要、最多产的实验动画艺术家之一,他使用不同的技术,尤其是对胶片(绘画、彩绘、雕刻、酸腐蚀)的手工干预。处理后的结果将被传输并进行数字编辑。节目中的三部电影,其中故事片《爱琴海》,将音乐作为一个绝对的中心共同点:莫扎特的安魂曲以及爵士乐的即兴创作。音乐和图像是如此不可分割的交织在一起我们可以将它描述为真正的信号和声音。
Since the historical avant-gardes (i.e. Oskar Fischinger’s abstract films), the relationship between animation and music has always been very close. This connection was then consolidated over the decades, even through famous feature films, from Disney’s Fantasia, where the animated cartoons dialogued with classical music to Yellow Submarine by George Dunning, where the work of several English animators was put at the service of the Beatles’ pop music. From the 80s onwards, with the arrival of video music, the production of audiovisual works connected to music intensified.
In addition to some Italian music videos made in the last decade, the short selection that I propose, contains also a little tribute to Leonardo Carrano, one of the most significant and prolific Italian experimental animation artists who uses different techniques, especially focusing on manual interventions on celluloid film (painting, encaustic, engraving, corrosion with acids). The result, once processed, is transferred and digitally edited. Three films in the programme, among which the feature film Aeterna, have got the music as an absolutely central common point: Mozart’s Requiem as well as jazz improvisation. Music and image are so indissolubly intertwined through what we could describe it as a real jam-session of sign and sound.


01/ Una giornata perfetta Virgilio Villoresi/Italian/3’40”/2009/SD/Animation

这是来自佛罗伦萨的动画师维洛雷西(Villoresi)制作的一段充满幻想和趣味的音乐视频。他是定格专家。他赋予一个作曲家生命,让他在3D场景中变成一个摄影人物(主要是在厨房里,桌子上有早餐),在那里,迎来“完美的一天”之前,清晨醒来的氛围得到了很好的诠释。主角都是一些人性化的物品,比如茶杯、打字机、录音机。看一看动画电影的历史,灵感来自第一个给图像赋予动感动作的基本装置:翻页本。
From the album Alone, a phantasmagorical and playful music video made by the animator Villoresi from Florence. He is an expert of stop-motion. He gives life to a songwriter transformed into a photographic character in a 3D set (mostly in a kitchen with a table ready for breakfast) where the morning awakening atmosphere that precedes a ‘perfect day’ is nicely illustrated. The main actors are humanized objects such as tea cups, a typewriter, a record player. With an eye to the animation cinema history, a little poetry and artisan technique masterpiece inspired by the first basic devise that gave moving action to images: flip book.


02/ Cromatica Bruno D’Elia/Italian/4’08”/2012/HD/Animation

基于Marta sui muri乐队的一张音乐专辑(Carne con gli occhi / Meat with eyes),这个视频是用拼贴照片、图画和真实图像制作的3D动画。这是一个几个移动绘画之旅。对于所有视频来说,保持一种回路模块的想法非常好也很有趣,这个模块指的是在工作的开始和结束时眼睛的打开和关闭。这是一场根据中国盒子机制所构建的疯狂视觉游戏。
Based on a music album (Carne con gli occhi / Meat with eyes) by Marta sui muri band, this video has been made in 3D animation using photo collage, drawings and real images. It is a trip through several moving paintings. Very nice and interesting the idea of maintaining for all videos a circle module which refers to the opening and the closing eye at the beginning and at the end of the work. A frenetic game of visions structured according to Chinese boxes mechanism.


03/ Di domenica Donato Sansone/Italian/4’05”/2014/HD/Animation

在一张白纸上,两只手拿着铅笔,不停地变换着构图:鸟,树干,人体的各个部位,一个亲吻女人的男人。
On a white page, two hands with pencils are drawing compositions continuously in transformation: birds, tree trunk, parts of human body, a man that kisses a woman.


04/ Jazz for a Massacre Leonardo Carrano/Italian/15’20”/2014/HD/Animation

《大屠杀中的爵士乐》是对实验艺术家兼电影制作人北约·弗拉斯卡(Nato Frasca)的致敬。弗拉斯卡发明了“涂鸦法”(the doodle method),这是一种探索无意识世界的自由表达形式。理想地运用这种方法,电影以一种音乐图像的形式出现,在这里,麻烦的爵士乐即兴创作的噪音与莱昂纳多·卡雷诺(Leonardo Carrano)创作的抽象形式很好地结合在一起,直接出现在胶片上,然后由朱塞佩·斯宾纳(Giuseppe Spina)编辑。一种2万张经过彩绘、雕刻和蚀刻的照片吸引着观众来欣赏一场彩色舞蹈。
Jazz for a massacre is a tribute to the experimental artist and film maker, Nato Frascà, inventor of “the doodle method”, a form of free expression that explores the unconscious world. Applying ideally this method, the film comes out as a musical-pictorial jam-session where Noise of Trouble’s jazz improvisation nicely combines with the abstract forms created by Leonardo Carrano directly onto celluloid films, then edited by Giuseppe Spina. A sort of 20,000 painted, engraved and etched photograms attract the viewer in a chromatic dance.


05/ Medea Leonardo Carrano/Italian/3’20”/2017/HD/Animation

美狄亚是用一种特别复杂的方法创造出来的:在玻璃化的赛璐珞薄膜上涂上彩。其结果是一个炼金术的工作,生活的物质和光,一个电影图像的果酱会议,完美地协调与爵士即兴创作。一种特别创作的作品,具有引人深思的隐喻成分,巧妙地使人联想到岩浆般的、具体化的现实。
Medea has been created with a particularly complex procedure: encaustic painting on vitrified celluloid film. The result is an alchemical work that lives of matter and light, a cinematic-pictorial jam session that perfectly harmonizes with the jazz improvisation. A work specifically created with evocative metaphorical compositions that deftly evokes a magmatic and crystallized reality.


06/ Aeterna Leonardo Carrano/Italian/58’00”/2017/HD/Animation

这个项目的目标是将莫扎特的安魂曲改编成同名作品的视频。为了用不同的动画技术和表现形式创造出一种有机的作品,为著名的弥撒的14个动作中的每一个都发明了一个实验视频动画。每一部电影都是在一位联合制片人的帮助下实现的,他/她以自己的敏感性和技术、文化和艺术贡献丰富了研究。
The ambition of this project is to transpose Mozart’s Requiem into a video inspired by the homonymous composition. With the aim of creating an organic work made with different animation techniques and forms of expression, for each of the 14 movements of the famous Mass an experimental video-animation was invented. Each film was realized with the help of a co-film maker who has enriched the research with his / her own sensitivity and technical, cultural and artistic contribution.