Con A de animación - No 04 (2014): Febrero 2014: Animación. Stop-Motion
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Tabla de contenidos
- Editorial
Reseñas
- Gritos en plastilina. El dolor humano a través de la animación y la música
- Prime the animation! La experiencia de una singular unión entre escuelas
Reportajes
- La stop-motion como ejército de resistencia. La tardía edad de oro de una técnica anacrónica
- La oscura poesía de las marionetas. Starewitch, Svankmajer y los Quay
Perfiles
- Entrevista a David Caballer, director de Animación Stop-Motion
- Entrevista a Carles Porta. Animación, encargos y proyectos
Espacios expositivos
- Stop Motion Don't Stop, la exposición
Formación
- Antón. Diario de una aventura en stop-motion
Firma invitada
- Conferencia internacional en ilustración y animación CONFIA. Compartiendo y celebrando la investigación
Investigación
- El arte de la animación selectiva en las series de anime contemporáneas
- WALL-E. Humanamente tecnológicos
- De los Grimm a Disney. Un estudio narratológico de la adaptación de Blancanieves
- Los pioneros olvidados del anime: el caso de Kenzo Masaoka
- Bogotá: imaginarios de ciudad en tres obras animadas
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- PublicationEntrevista a David Caballer, director de Animación Stop-Motion(Editorial Universitat Politècnica de València, 2014-03-24) González Monaj, Raúl; Dpto. de Comunicación Audiovisual, Documentación e Historia del Arte; Escuela Politécnica Superior de Gandia; Grupo Animación de la Universitat Politècnica de València[EN] The interview with David Caballer brings to us an essential animator to understand which was and is Valencia’s famous clay animation. Through his professional experiences, memories and reflections, from his beginnings to today, we will know firsthand what it means to be a professional animator. We’ll see how the versatility, adaptation to the commissioned work and to the circumstances still characterize high qualified animators.
- PublicationEl arte de la animación selectiva en las series de anime contemporáneas(Editorial Universitat Politècnica de València, 2014-03-24) Horno López, Antonio[EN] This essay exposes the background reasons and the context where limited animation was originated, a peculiar Japanese technique of saving costs at the production of anime series. Through the analysis of fragments of recent anime TV series, the paper will demonstrate how these economical processes have evolved over the years into what we can call selective animation, which results in a significant improvement in the quality of animation images, becoming the greatest asset for its expansion worldwide.
- PublicationEditorial(Editorial Universitat Politècnica de València, 2014-03-24) Herráiz Zornoza, Beatriz; González Monaj, Raúl; Dpto. de Comunicación Audiovisual, Documentación e Historia del Arte; Dpto. de Dibujo; Escuela Politécnica Superior de Gandia; Grupo Animación de la Universitat Politècnica de València
- PublicationPrime the animation! La experiencia de una singular unión entre escuelas(Editorial Universitat Politècnica de València, 2014-03-24) Busto Algarín, Antonio Jesús[EN] The program “Prime the Animation!” brings together the best work made in 2012-13 by animation students from Middlesex University (London, UK), Universitat Politècnica de València (Spain) and Emily Carr University of Art + Design (Vancouver, Canada). Although this common initiative began as part of the festival Cinema Jove 2013, from Valencia , it just started a tour screening beyond the originally planned, both as a whole and each individual work. Antonio Jesús Busto, student of the three institutions, recounts firsthand the intricacies of the leading short program, giving us a close view about the production and the most interesting aspects about graduation projects that can compete on equal terms in the professional sphere.
- PublicationLa stop-motion como ejército de resistencia. La tardía edad de oro de una técnica anacrónica(Editorial Universitat Politècnica de València, 2014-03-24) Costa, Jordi[EN] Paradoxically, in the era of digital animation, stop motion animation not only does not have retired to the bench —or the attic of broken toys— in a scenario that did not ensure its survival, but it reveals itself more bustling than ever was with the completion of numerous feature films that are distributed globally, produced under the baton of veteran directors like Henry Selick —alma mater of the paranormal Laika—, Peter Lord —Aardman Animations—, Tim Burton or the revived Czech master Jiří Barta, also involving an added attraction for live action filmographies as personal as Wes Anderson’s. Jordi Costa explores this unexpected revival of stop motion animation, which unrush increasingly spreads all latitudes.
- PublicationStop Motion Don't Stop, la exposición(Editorial Universitat Politècnica de València, 2014-03-24) Herráiz Zornoza, Beatriz; Dpto. de Comunicación Audiovisual, Documentación e Historia del Arte; Dpto. de Dibujo; Escuela Politécnica Superior de Gandia; Grupo Animación de la Universitat Politècnica de València[EN] In 2013 and for barely two months, it was seen in the Valencian MuVIM the exhibition Spot Motion Don’t Stop, curated by MacDiego, which reunited the work of three stop motion animation production companies settled down in Valencia. These companies are featuring now series and films which compete at international level. Javier Tostado, Sam and Pablo Llorens, commanding Clay Animation, Conflictivos Productions and Potens Plastianimation respectively, brought us their creations, their styles and their working methods. Also, in the exhibition was carried out part of the production of Clay Kids, with the whole team working in front to the visitors. The exhibition delved into three decades of animation production in Valencia, where we could discover their high degree of creative quality.
- PublicationLa oscura poesía de las marionetas. Starewitch, Svankmajer y los Quay(Editorial Universitat Politècnica de València, 2014-03-24) Trenor, María[EN] The next exhibition Metamorphosis. The fantastic visions of Starewitch, Švankmajer and the Quay Brothers, first in Barcelona and then in Madrid, will be unmissable for fans of these masters of stop motion animation. Three generations of filmmakers whose works run through a turbulent and murky twentieth century, presenting broad thematic and aesthetic matches despite their peculiarities: the obsession with taxidermy, the undead, magical operations, poetic objects, dirt, the sublime and the unconscious, walk across their filmographies, genuine and inimitable. María Trénor, Valencian animation director, will talk about these artists.
- PublicationConferencia internacional en ilustración y animación CONFIA. Compartiendo y celebrando la investigación(Editorial Universitat Politècnica de València, 2014-03-24) Tavares, Paula[EN] The International Conference on Illustration and Animation CONFIA is a place for open debate on the theoretical research and practice about these related areas. This paper reviews its last edition, held in Porto, Portugal, where a very interesting group of international experts came together: artists, researchers and theorists. Paula Tavares reports some considerations on the most relevant papers from this meeting, which exposed some of the focal topics of current practice and research — from the traditional ways of making to the latest technological innovations. With this paper we aim to open the way to CONFIA 2014, which we want to be the Conference of stability and maturity.
- PublicationAntón. Diario de una aventura en stop-motion(Editorial Universitat Politècnica de València, 2014-03-24) Carlino, Maria Rosario[EN] In this article we introduce Antón, a stop motion animated TV series from Argentina, which was selected for competition at the Annecy International Animation Festival 2013. It is also participating in over fifteen festivals and has won two international awards. The series director, Rosario Carlino, will carry us in a tour through its production stages, discovering the secrets that led to an interesting combination of volume animation in multiplane glass tables, to reveal eventually the validity today of such an artisanal and attractive technique.
- PublicationBogotá: imaginarios de ciudad en tres obras animadas(Editorial Universitat Politècnica de València, 2014-03-24) Arce, Ricardo; Hernando Sosa, Diego[EN] There isn’s any city without a path. Three animated short films present different views about Bogotá as a complex and diverse city of intersections. While the films capture the ordinary sights and the contradictory visions that define this urban landscape —as the space of daily experience—, it is also possible to find in these animated images a city as an organic and dynamic element, which essence remains open to new gazes.
- PublicationEntrevista a Carles Porta. Animación, encargos y proyectos(Editorial Universitat Politècnica de València, 2014-03-24) Navarro Álvarez, Adriana[EN] In this interview, the artist Carles Porta Garcia (Madrid, 1963) shows us in a brief and condensed way some significant aspects of his activity as multifaceted creative. He begins by recalling his adolescence as the period in which he decides to go their own way guided by a taste for the art world, continues to speak about his influences and referents, as well as how he manage to combine his professional works with his personal works, and pointing to, among other things, some likes and dislikes and finally giving us some clues to his last (for now) project.
- PublicationEnglish information(Universitat Politècnica de València, 2014-03-24) Animación Arte e Industria, GrupoDatos en inglés de los artículos incluidos en este número de la Revista Con A de animación
- PublicationLos pioneros olvidados del anime: el caso de Kenzo Masaoka(Editorial Universitat Politècnica de València, 2014-03-24) Montero Plata, Laura; Japan Foundation[EN] Within the anime evolution, Kenzo Masaoka name is one of the most forgotten. The great pioneer and explorer of cell and sound techniques, Masaoka made a risky and transcendental decision when he decided to abandon the most traditional stream of Japanese animation, which resulted in an enormous budget increase. Well versed in both Eastern and Western Painting, his relevance in the configuration of the anime and also his contribution to the assimilation and development of foreign techniques and the introduction of new narrative motives indicate him as the key figure of Toei Animation’s birth.
- PublicationGritos en plastilina. El dolor humano a través de la animación y la música(Editorial Universitat Politècnica de València, 2014-03-24) Encinas Salamanca, Adrián[EN] Who was launched a few years ago to animate clay figures as a method to unleash his imagination, and who whit lot of determination won in 2007 the Goya Award for the Best Animated Short Film (for The trip of Said), now he presents a touching story about a man who can hear the social suffering, whith a hearing power that goes far beyond what is humanly possible. The filmmaker and film professor Coke Rioboo rubs salt again into the wound with The noise of the world, thanks to an excellent clay animation technique on glass and a deep soundtrack, which come together in a short film that is winning prizes at festivals and receiving great reviews.
- PublicationWALL-E. Humanamente tecnológicos(Editorial Universitat Politècnica de València, 2014-03-24) Madrid Brito, Débora[EN] Animation cinema has frequently brought up the conflict generated between the human and the technological in the background of scientific development. In the case of Wall-E, the exchange of roles between humans and robots becomes evident. Through the relations between its characters suggested by the plot, the film proposes a discussion about the human needing the technological to achieve development. From the depiction and interpretation of some elements of the movie, this essay will demonstrate how the movie conveys the ambiguity and exchange of roles between the human and the technological, proposing Wall-E’s story as a relevant sample of the humanization of the mechanical, and equally the dangerous mechanization that jeopardizes the human.
- PublicationDe los Grimm a Disney. Un estudio narratológico de la adaptación de Blancanieves(Editorial Universitat Politècnica de València, 2014-03-24) Sánchez Hernández, Tomás[EN] The works of the Disney Studios have been widely critisized from its inception. The filmography of the “Factory” has received both attacks and praise from every direction, and its creators —especially its founder— have been accused of defending diverse political principles under the camouflage of their films’ naivety. In most cases, this criticism has relied on simple intuition and ideological prejudice. The aim of the present analysis is approaching the first animated feature film produced by the Disney Studios so as to characterize the process carried out by the Company’s creative staff when rewriting a popular tale by The Brothers Grimm. The narratologic study of the operations taken will try to detect whether, in this case, there was a hidden agenda in Disney activity or rewriting responded to less militant goals.