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影视与动画 教育论坛
from: liff.cafa.edu.cn time: 2019.4.1
A-14
9:00-9:30 01/04/19 CM
Joyce Borenstein
乔伊斯·伯伦斯坦电影回顾展
Retrospective of films by Joyce Borenstein
伯伦斯坦电影回顾展
我将介绍我作为一个动画制作人的职业生涯,包括我的电影节选。直到20岁前当我还是个孩子时,我学习古典钢琴。这对我将来成为一名电影制作人/动画师是很好的训练,因为古典钢琴教会了我练习的纪律和重点。此外,学习钢琴让我了解了节奏和结构,这些方面对电影制作和音乐制作一样重要。事实上,我经常使用导乐来帮助我的电影编排动画,并塑造我的电影的情感结构。这一点将在我所展示的电影节选中得到证明。
我将按照时间顺序进行,讨论从以下电影:
REVISITED重新审视©1974, TRAVELLER’S PALM旅行者的棕榈 ©1976, THE PLANT 植物©1986, COLOURS OF MY FATHER我父亲的颜色 ©1992, ONE DIVIDED BY TWO一分为二 ©1997, MOTHER’S COLOURS母亲的颜色 ©2011, ANIMATED SELF-PORTRAIT
动画自画像 ©2012, 最后是LIDA MOSER PHOTOGRAPHER摄影记者LIDA MOSER ©2017.

我拍电影的主要目的是讲述那些激励人们、感动人们的故事。我也继续对使用动画来可视化纪录片故事感兴趣。我相信事实比小说更神奇,所以我喜欢纪录片故事。我觉得没有比动画更好的方式来“记录”梦想、情感、诗歌了。我的另一个关注点是动画、音乐和舞蹈之间的互动。同时,如果动画在每一幅画上都有电影人的指纹,那么观众就会强烈地感受到动画电影人思想感情的精华。通过动画,制片人和观众之间有可能进行一种独特的交流,这种交流最好能跨越空间和时间。

RETROSPECTIVE of BORENSTEIN’S FILMS
I will present a survey of my career as an animation filmmaker, including excerpts from my films. As a child until the age of twenty, I studied classical piano. This was great training for my future as a filmmaker/animator because classical piano taught me the discipline and focus of practice. As well, studying piano informed me about rhythm and structure, and these aspects are as essential to filmmaking as they are to music making. In fact I usually use guide music to help choreograph the animation for my films, and to shape the emotional structure of my movies. This will be evident in the film excerpts that I am presenting.
I will proceed chronologically, discussing from the following films: REVISITED ©1974, TRAVELLER’S PALM ©1976, THE PLANT ©1986, COLOURS OF MY FATHER ©1992, ONE DIVIDED BY TWO ©1997, MOTHER’S COLOURS ©2011, ANIMATED SELF-PORTRAIT ©2012, and finally LIDA MOSER PHOTOGRAPHER ©2017.
My primary goals in making films are to recount stories that inspire people, and that move people emotionally. I also continue to be intrigued by the use of animation to visualize documentary stories. I believe that fact is more amazing than fiction, thus my love for documentary stories. I feel that there are no better means to ’document’ dreams, emotions, poetry, than through animation. Another preoccupation of mine is the interaction between animation, music and choreography. As well, if the animation has the fingerprint of the filmmaker on every drawing, then the audience will experience intensely the distilled essence of the thoughts and feelings of the animation filmmaker. Through animation, there is the possibility of a unique communication between the filmmaker and the audience and, that at its best, can span space and time.

A-15
9:30-10:00 01/04/19 CM
Liset Cotera
Introduction about the Festival Intternacional de Cine para Niños
(...y no tan Niños in Mexico
我将介绍La Matatena, Asociacion de Cine para Ninas y Ninos, A.C., / La Matatena和墨西哥儿童电影组织。
这个项目的种子是墨西哥的国际儿童电影节(对于不年轻的人来说),这个电影节始于24年前的1995年,创立这个电影节的主要目的是给墨西哥的孩子们一个选择,让他们有机会看到世界上最好的儿童电影。每年8月的第二个星期,也就是暑假期间,电影节都在逐年举行,它在6天的时间里在几个地方上映,比如:Cineteca Nacional,Filmoteca de la UNAM,以及Faro(城市里的文化项目)总共有8个电影院,总共64个电影,在这6天里,我们影响了1万到1万2千名儿童和他们的父母,在每一次放映中,我们都用英语或者法语来配音,我们翻译了所有的电影,我们要给孩子们做个配音,让孩子们了解这条信息。本次电影节的设计是放映来自全球30到45个国家的74到80部电影,必须在DCP和Blu Ray放映。我们需要10到11个月的时间来组织这个节日,因为我们需要在暑假期间做很多宣传活动来发展这个节日。儿童评审团(7或11名儿童)每年都参加,他们需要在电影节开始前两周观看所有合格的影片。下面是权限类别:
•最佳剧情片(动画和真人)
•最佳真人短片、最佳动画短片、
•最佳纪录片奖
•国内最好的产品。
在电影节期间,我们也放映来自墨西哥和其他国家的孩子们制作的电影,但这个类别是没有竞争的,因为我们的电影节是为专业人士制作的电影。
儿童评审团需要在每一个类别中给一个奖项,在节日的闭幕仪式上宣布获奖者,孩子们站在舞台上,让我们知道这个版本的获胜者。电影节的节目包括从4岁到13岁的儿童电影,最后三个版本我们开始为年轻人播放一些电影,但我们也非常有趣的是为4到6岁的孩子们放映电影。
1997年,我们创建了La Matatena, Asociacion de Cine para Ninas y Ninos, A.C.,作为我们组织内部的反应,我们开始设计许多工作室,他们给孩子们介绍这个形象的世界,发展成为一个被动的旁观者,开始制作他们自己的电影。这个节日在墨西哥非常有名,它是墨西哥历史第二悠久的节日,也是唯一一个观看孩子们的节日。La Matatena交流而且,我们的工作室也很有名,而且全年都在工作,参加不同种类的电影的孩子。我们开始设计不同的方法来介绍电影世界的孩子们。我们开发了一个名为“帧对帧动画”(Clay animation)的工作室,今年我们有20年的时间来制作4到5部儿童制作的电影,我们的档案中有170部墨西哥儿童制作的短片。(在会议上,我将更多地谈论我们的过程,我还将放映一些电影和制作,或我们做什么,以及我们如何与孩子们一起工作)。
为了让孩子们做好评审准备,我们设计了一个电影欣赏的工作室,我们向他们介绍了影像的历史,与孩子们交谈,教导他们电影的语言,向他们介绍戏剧结构的故事,我们要如何制作一个关于电影的故事然后在故事板上工作,与如何制作一部电影。此外,我们开始非常清楚影片所要表达的信息,并开始观看该影片所希望让我们知道的内容。我们有几个简单的光学游戏工作室,就像索玛特,索托普,flipbook,了解它的发展直到卢米埃创造了电影,打开了图像的世界。基本上,我想介绍的是,我们在存在了20年里都做了什么,我们的电影节旨在用24年的时间在全世界推广高质量的电影。国际电影节(international acional de Cine para Ninos)是世界上最好的儿童电影节之一。

I will made a presentation of La Matatena, Asociacíón de Cine para Niñas y Niños, A.C., / La Matatena and organization of cinema for kids in MEXICO.
The seed of the the project it’s the International Children film festival in Mexico (…and for not young), it’s a festival who start 24 year ago in 1995 and the main objective of create the festival is to give an options for kids in Mexico, to bring them the chance to see the best film around the world for kids. The festival been made year by year the second week of August, during the summer holidays and it’s screening in several places in 6 days like: Cineteca Nacional, Filmoteca de la UNAM, and a net of Faro (cultural projects inside the city) totally 8 cinemas, 64 screening totally and during all those 6 days and we impact 10,000 or 12,000 kids and their parents and in each screening we made a voice over as the films are in their original version with subtitle in English or French and we translate all films and it’s necessary to made a voice over for introduce the kids and understand the message. The design of the Festival is to screening about 74 or 80 films from 30 or 45 countries around the world, must of the film are screening in DCP and Blu Ray. It takes us 10 or 11 months to organize the festival, as we need to made a lot of promotions for develop that the festival during summer holidays. A children jury (7 or 11 kids) participate year by year and they need to see all films in competence two weeks before the festival start. The categories in competence are the next once:
Best feature films (animation and live action),
Best short live – action, best short animation,
Best documentary and
Best national production.
Also during the festival we screening films made by kids from Mexico and also for other countries, but this categorie is non in competition as our Festival is for films made by professional.
The children jury needs to give an award in each categorie who it’s announce on the close ceremony of the festival, the kids stand up on the stage and let us know the winner in this edition. The programmation of the festival includes films for kids from 4 year until 13, the last three edition we start to programme some films for youth people, but we are very interesting also to screening films for the little onces between 4 until 6 years all.
In 1997, we create La Matatena, Asociación de Cine para Niñas y Niños, A.C., as our reflextions inside our organization it’s to start to design many workshop who give the chance to introduce the kids to the world of the image and develop to transit to be a passive spectator to start to made their own films. Now a days the Festival is very well known in Mexico, it’s the second oldest Festival in the country and the only one who attend the views of the kids. La Matatena, A.C., also is very well known and works all the year develop our workshops, attend a different kinds of kids in the item of cinema. We start to design an create differents methodologics to introduce the kids at the world of cinema. We develop a workshop the name is frame to frame in animation (Clay animation) and this year we have 20 years producing 4 or 5 films by the years made by the kids, our archive count with 170 short films made by the Mexican kids. (In the conference I will talk more about our process and also I will screening some films and a making of or what we do and how we work with the childrens).
For prepare the children jury we design also a workshop of cinema appreciation, we introduce them to the history of images, we talk with the kids and teach them the cinemathographic language, to introduce them to the dramatic structure storie telling, how we need to create a story on cinema and to work on the storyboard and how is produce and made a film. Also we insist to be very clear about the message of the films and to start watching the films seeing what the images wants to let us know. We have several short workshop of optical plays like thaumatrope, zootrope, flipbook, for understand how was been develop until the Lumiere create the cinemathgrapher and start the world of the images. Basically, I will introduce or what we do after 20 years of exist La Matatena, A.C., in Mexico and 24 years to promote quality films around the world with our Festival. The Festival Internacional de Cine para Niños (…y no tan Niños) is on the list of the best children film festival around the world.

A-16
10:00-10:30 01/04/19 CM
Maureen Selwood
DOUBLES
DOUBLES 一个由 莫林·塞尔伍德 策办的项目
DOUBLES是一个批评和观察学生如何发展的机会
电影制作过程。有机会观看四名电影制作人的两部电影片段,我们将探讨这些片段如何揭示他们正在学习的内容,以及概念如何影响过程。这对我们来说是一种有趣的方式来看待动画,并批判思想和流派的演变。动画是如何提示并帮助叙事的?像因果这样简单的概念是如何融入到一个想法的大框架中去的?想法是如何形成的,又是如何成长的?在第一部电影中,一段疯狂动作的片段突然停了下来,但在下一部电影中,动作的轨迹却自由地移动。发生了什么事?
本文节选了四位硕士生的作品,让我们仔细看看他们在第一部电影中是如何改变或延续自己的人生轨迹的。MFA实验动画专业要求学生在校期间拍摄两部电影。每一个都以它自己的一组参数开始,这些参数勾勒出不同产品的结构。第二个MFA 3要复杂得多。审查过程以批准继续进行而告终。
那么,第一个问题是否预示着第二个问题将如何发展呢?他们的模式或概念是否潜藏在第一个学习过程的表象之下?
会发生什么呢?艺术的声音是如何在技术、软件、声音制作以及构思的写作和可视化的学习曲线中发展的?
从四个不同的电影制作人中选出的片段,是因为在从一部电影到另一部电影的过程中发生了一些事情。在一组节选中,我们看到了恐怖是如何与焦虑的概念交织在一起的;在另一组节选中,我们看到了脆弱的材料是如何塑造身份的概念的;在另一组节选中,我们看到了抽象的叙事张力是如何存在的

DOUBLES a program by Maureen Selwood
Doubles is an opportunity to critique and observe how students evolve with their filmmaking process. Given the opportunity to view excerpts from two films by four filmmakers we explore how these excerpts reveal what they are learning and how concept affects process. It becomes for us an interesting way to look at animation and critique the evolution of ideas and genre. How does the animation prompt lend itself to narrative? How does a simple concept like cause and effect fit itself into the large scheme of an idea? How are ideas shaped and how do they grow? In one first film an excerpt with frenetic actions suddenly stop yet in the next film the path of action moves freely. What happened?
The works of four MFA students are excerpted to allow us to look closely at how they changed or continued on trajectory started in their first film. Students in the MFA Experimental Animation are required to make two films while in residence. Each one begins with its own set of parameters outlining a structure for production different from each other. The second one done as an MFA 3 is more complex. A review process culminates with an approval to move forward.
So does the first one indicate how the second one will develop? Are their patterns or concepts that are lurking beneath the façade of the learning process in the first one? What happens? How does the artistic voice develop amidst the learning curve of technology, software, sound production and the writing and visualization of an idea? Excerpts from four diverse filmmakers were chosen because something happened during the process of moving from one film to another. In one set of excerpts we watch how the macabre mingles with notions of anxiety, in another how fragile materials shape notions of identity, in the next how narrative tensions exist within abstraction and lastly how memoir shapes another narrative again.