Con A de animación - No 05 (2015): Febrero 2015: Animación. Punto de encuentro
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Tabla de contenidos
- Editorial
Reseñas
- Amore d’invierno, de Isabel Herguera
- Pues eso... que Sam vuelve a las andadas
Reportajes
- Sincronías y sinergias animadas: La visión de la industria de la animación de Pixar y Ghibli
Perfiles
- Jonathan Hodgson. Animación de lo real
- Conociendo a Silly Walks Studio
Espacios Expositivos
- Perdido en los mundos de Jirí Barta
- Entrevista a Gerben Schermer, director del Holland Animation Film Festival
Producción
- Un día en el asombroso mundo de Gumball
- Cuentos de viejos: los relatos de la memoria
Firma invitada
- ¿Por qué no nos sentamos simplemente frente a la pantalla?
Investigación
- Deformar a la Gorgona: la imagen animada como estrategia para documentar el horror
- El realismo animado de Sang-ho Yeon
- El verdadero ataque de los titanes: la combinación ganadora internacional de Shingeki no Kyojin
- Ninjas, princesas y robots gigantes: género, formato y contenido en el manganime
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- PublicationAmore d’invierno, de Isabel Herguera(Editorial Universitat Politècnica de València, 2015-05-18) Garcia Rams, María Susana; Dpto. de Dibujo; Facultad de Bellas Artes; Grupo Animación de la Universitat Politècnica de València[EN] Isabel Herguera is a visual artist, Basque by birth and cosmopolitan by experiential evolution. Her birthplace gives her a trace of identity, of the rooted people, and of the female who knows her position and placement in the world. Her look has been enriched in each of her trips, loaded with personal and professional experiences, which she has managed to unite and distill through animation to get always a different product, with its own flavor, yet combining her creative role with other tasks like managing festivals and teaching. Her latest short, Winter Love, is also a story about ties, where two people from different worlds meet in a place transformed through emotion and nostalgic memory of what it used to be. A short film where Isabel — as Marta, the protagonist of the film— is true to her destination: art, life and her freedom to love.
- PublicationConociendo a Silly Walks Studio(Editorial Universitat Politècnica de València, 2015-05-18) Andrés López, Rafa; Valls, Ajo P.[EN] Silly Walks Studio is a newly established team formed by four young artists specializing in visual development and 2D animation. This group was created in 2013, after its members finished their studies, thanks to a Startup UPV, a program to support young entrepeneurs, of which these four Graduates in Fine Arts have been the first beneficiaries at Universitat Politècnica de València. Due to their multidisciplinary nature, in Silly Walks’ portfolio can be found the production of Motion Graphics, spots, advertising art for video games, and even contributions to films. To date they have combined the development of their own projects with commissioned work of some importance, as the animation sequence for the film Pixel Theory (2013), or the graphical and audio-visual image to the 5th Edition of the Master Degree in Animation UPV (2013-15). Moreover, in the past year they have worked as visual designers and as animators for the gaming industry, joining forces with Brave Zebra studio. In the following lines we will know firsthand the members of this group and will be reviewed their short but intense career in today’s audiovisual and animation world.
- PublicationCuentos de viejos: los relatos de la memoria(Editorial Universitat Politècnica de València, 2015-05-18) Dematei, Marcelo; Piaggio, María Laura[EN] Old Folks’ Tales is a collaborative transmedia documentary that includes an animated TV series, an online platform and school projects. It was conceived by HIERROanimación (Bogota) and Piaggiodematei, from Barcelona. It was awarded as Best Transmedia Project at the MIFA-Festival of Annecy in 2012. It was coproduced by the Colombian public broadcaster (RTVC-Señal Colombia). The series was released in September 2013, and now a third season is in production. It has been internationally awarded, and in 2014 it was present at major festivals such as Annecy, Hiroshima, Anima Mundi, Dok Leipzig, DocDF and Animasivo. It received two TAL awards (by LatinAmerican public broadcasters network), and it was nominee to the Prix Jeunesse International and the Japan Prize. It has also won the India Catalina Prize from the Colombian TV Academy. Moreover, it was awarded at the following animation festivals: Savannah (USA), Golden Kuker (Bulgary) and Anima (Argentina). In the following essay, two of its main producers unveil the secrets of this unusual model of success.
- PublicationDeformar a la Gorgona: la imagen animada como estrategia para documentar el horror(Editorial Universitat Politècnica de València, 2015-05-18) Hachero Hernández, Bruno[EN] What new relations are proposed between cinema and the real through the animated documentary genre? What new configurations of the visible and thinkable poses? Analyzing the characteristics of the animated documentary under the scope of the representation limits of the horror, offers an opportunity to reflect on the ontology of the animated image in its relation to the real. This article starts with Waltz with Bashir to discuss how animation stands as an intermediate to face the non-image of the horror. The animated image, like Perseus’ shield, allows watching the real from a certain distortion, a distance that raises new ways to look and new questions for film.
- PublicationUn día en el asombroso mundo de Gumball(Editorial Universitat Politècnica de València, 2015-05-18) Figueroa Lopez, Eva; Arroyo Molina, Juan Pedro[EN] Ben Bocquelet’s & Mic Graves’ The Amazing world of Gumball is a TV series that since 2011 has earned a special position in the programming of Cartoon Network. Along with Pendleton Ward’s Adventure Time (2010-) and J.G. Quintel’s Regular show (2010-), the series is one of the channel’s heaviest bets. It is in this TV series, winner of numerous awards and with fans on the rise, where Juan Pedro Arroyo and Eva Figueroa have managed to get a job, as part of the team in Studio SOI (Germany) that assists the animation headquarters in London. Now they write about a day in their daily routine: from the first screening of “The Episode” that takes place in the studio, to the exclusive screening, surrounded by friends and beer, of the finished episodes of this new season.
- PublicationEditorial(Editorial Universitat Politècnica de València, 2015-05-18) Lorenzo Hernández, María Carmen; Dpto. de Dibujo; Facultad de Bellas Artes; Grupo Animación de la Universitat Politècnica de València[ES] La animación es un medio híbrido, siempre a medio camino de otros mundos: propiamente madre del cine, durante mucho tiempo, y quizá todavía, se ha descuidado su estudio por ser considerada un mero subgénero del lenguaje cinematográfico.
- PublicationEnglish information(Universitat Politècnica de València, 2015-05-18) Animación Arte e Industria, GrupoDatos en inglés de los artículos incluidos en este número de la Revista Con A de animación
- PublicationEntrevista a Gerben Schermer, director del Holland Animation Film Festival(Editorial Universitat Politècnica de València, 2015-05-18) Álvarez Sarrat, Sara; Dpto. de Dibujo; Facultad de Bellas Artes; Grupo Animación de la Universitat Politècnica de València[EN] Gerben Schermer (Netherlands, 1959) founded the Holland Animation Film Festival together with animation filmmaker Gerrit van Dijk, in 1985. Schermer has developed a distinguished career in selection and programming for HAFF, and he has composed guest programmes for numerous international festivals. He has held positions as a board member and consultant for international organisations. Nowadays Schermer is active in the advisory committee for the Grant Programme for Design of the Creative Industries Fund. Gerben Schermer has been involved in film production as well. In 2010 he produced Clown’s Revolution by the Chinese visual artist Sun Xun, who worked as artist-in-residence of the HAFF. In this interview Gerben Schermer talk to us about the profile of the Holland Animation Film Festival, his vision about animation and many other interesting issues for animation professionals, students and fans.
- PublicationJonathan Hodgson. Animación de lo real(Editorial Universitat Politècnica de València, 2015-05-18) 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] Jonathan Hodgson (Oxford, United Kingdom, 1960) is an English animator who has developed his work mainly on documentary animation, or “animating real life”, as he prefers to call it. He has also worked extensively for advertising and he has won numerous awards including the BAFTA for Best Animated Short in 1999. In the following interview with Jonathan Hodgson we will discover his current viewpoint on animation, his creative processes and the techniques he uses, as well as his teaching modes at the University of Middlesex, London, where he is Senior Lecturer and heads the Animation Degree.
- PublicationNinjas, princesas y robots gigantes: género, formato y contenido en el manganime(Editorial Universitat Politècnica de València, 2015-05-18) Torrents, Alba G.[EN] This article uses Veronian notions of L-genre and P-genre to try to bring some light to the problem of the classification of genres in manga and anime. The essay strategically adopts the distinction between L-genre and P-genre, applying it to manga and anime, to eventually show how the application of these Veronian categories to this field of Japanese cultural production is much more problematic than it may seem at first.
- PublicationPerdido en los mundos de Jirí Barta(Editorial Universitat Politècnica de València, 2015-05-18) Ferri Gandía, Manuel[EN] The exhibition hall Josep Renau, UPV hosted in 2014 the exhibition The Lost World of Jiří Barta, devoted to the renowned Czech animator. This exhibition, curated by Beatriz Herráiz and Miguel Vidal, was possible thanks to the collaboration between the Czech Centre, the Valencian Filmoteque – CulturArts, and the Master Degree in Animation UPV, and it allowed us to admire the material that the master had used in several of his productions. The sample included dolls, story boards and sketches, all them displayed with great elegance to the delight of visitors, familiar or not, with this animator’s career. The following article discusses the work of Jiří Barta, one of my first contacts with auteur animation, and how I revisited his work as a result of this exhibition.
- Publication¿Por qué no nos sentamos simplemente frente a la pantalla?(Editorial Universitat Politècnica de València, 2015-05-18) de León Yong, Tania[EN] In this paper, PhD Tania de León Yong introduces the characteristics of limited animation compared to full animation, and experimental animation set side by side to orthodox animation: this means, which are the peculiarities of the animated image, and how many frames per second are used? In the same way, the different purposes of films will be compared. Without the intention to be inflexible, the classifying of animation is important because it allow us to think over, to identify, to group and to analyze other’s productions and personal work. These activities constitute a fertile ground for creative productions.
- PublicationPues eso... que Sam vuelve a las andadas(Editorial Universitat Politècnica de València, 2015-05-18) Herranz Calero, Nieves[EN] Sam Ortí, better known simply as Sam, is already a living page in the history of Spanish animation. His brilliant career includes hits like The Werepig (2008), Vicenta (2010), or the ineffable Encarna (2003), perhaps the germ of all his subsequent production. Sam has opened to us the doors of his future studio-museum in Valencia, filled with scenes of his films, turned into exhibition dioramas that have toured the world, and he has told us the vicissitudes of his new film, Possessed (2014), appearing with honor as the third stop-motion animation feature produced in our country. Nieves Herranz talks about this future release, which has already gathered significant prizes in film festivals, and that certainly will not leave anyone indifferent in theaters.
- PublicationEl realismo animado de Sang-ho Yeon(Editorial Universitat Politècnica de València, 2015-05-18) Gómez Gurpegui, Carlos[EN] This article focuses on the figure of the South Korean animation director Sang-ho Yeon. Having directed only two films, Sang-ho has achieved with his productions to be the first South Korean animator screened at Cannes, and he has also won awards at Sitges with his last film. His work, still not very widespread in Spain, portraits harshly today’s South Korean society. With this paper we want to review the basis of Sang-ho’s films. We will relate his cinema with the independent animation South Korean production, and how he has managed to combine realism and animation to forge a solid social discourse in his movies, focusing on the analysis of his two features: The King of Pigs (Dwae-ji-ui Wang, 2011) and The Fake (Saibi, 2013).
- PublicationSincronías y sinergias animadas: La visión de la industria de la animación de Pixar y Ghibli(Editorial Universitat Politècnica de València, 2015-05-18) Montero Plata, Laura; Pérez-Guerrero, Ana María[EN] Pixar and Ghibli, two of the animation studios better known internationally, have built a close relationship over more than 25 years — beyond the obvious homage that the American company has made to Hayao Miyazaki’s work. Through the organisation of temporary exhibitions, the dubbing of films, the support in distribution, the making of documentaries and keynotes — from Pixar to Ghibli and vice versa —, these companies have demonstrated the prolific and multifaceted link they have established during all these years. To reveal and detail this close commercial, artistic and personal connection, we have invited researchers Laura Montero Plata and Ana María Pérez Guerrero — who have respectively written the books El mundo invisible de Hayao Miyazaki [The Invisible World of Hayao Miyazaki] (2012) and Pixar, las claves del éxito [Pixar, the Keys to Success] (2013) — to analyze the relations between these two giants.
- PublicationEl verdadero ataque de los titanes: la combinación ganadora internacional de Shingeki no Kyojin(Editorial Universitat Politècnica de València, 2015-05-18) Seva Victoria, Carmen Lavinia Laura[EN] After years of Japanese animation’s silent improvement, a TV series emerges with such dimensions, in its production and marketing plans, that it has become impossible to ignore by the mainstream Western audience. Attack on Titan is an international reminder that animation is a technique capable of conquering also the adult viewer. In this case, it also proves the latest artistic and technical developments in anime, from a very particular language. Despite its initial suitable recipe, the success is due to its impressive impact on the publics, becoming a viral phenomenon for which the Japanese industry has provided feedback with sufficient expertise, promoting it as the colossal phenomenon of 2013. This article will delve, in the first place, around the concept of the series, focusing on the factors that make it stand out within other anime and compete with live action works; secondly, we will introduce its artistic value and singularities; finally the essay will analyze its impact in a national and international level. El verdadero ataque de los titanes: la combinación ganadora internacional de Shingeki no Kyojin