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Viewing: Blog Posts Tagged with: Shorts, Most Recent at Top [Help]
Results 26 - 50 of 828
26. A ‘Usagi Yojimbo’ Stop Motion Short Film—And Possibly A Feature

Stan Sakai's much-admired comic book "Usagi Yojimbo" is being developed as a feature film.

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27. Aardman’s Morph Returns In A New Online Series

Aardman's first star, Morph, has returned in a new series of Kickstarter-backed YouTube shorts.

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28. First Rendered Image from Pixar’s ‘Lava’

The first rendered image from Pixar's new short Lava" was published today in the "LA Times."

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29. Watch Glen Keane’s New Google Short ‘Duet’

Watch Glen Keane's new short "Duet" that he debuted this morning at the Google I/O developer conference.

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30. Pixar’s Announces ‘Lava,’ New Musical Short

Pixar has announced their latest short film, "Lava," directed by James Ford Murphy, a studio veteran who has animated on the company's films since "A Bug's Life."

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31. Short Film Review: Disney’s ‘Feast’

Disney's "Feast" debuted yesterday to a raucous packed house at the Annecy International Animation Festival, alongside some never-before-seen clips from the studio's next feature "Big Hero 6."

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32. Joanna Davidovich Premieres ‘Monkey Rag’ Online

Joanna Davidovich is a freelance animator based in Atlanta, Georgia. A graduate of the Savannah College of Art and Design, she has been working as an animator, designer, and storyboard artist on commercials, on-air content, and TV shows since 2005. Her animated short film "Monkey Rag", which debuts online this afternoon, has been making the festival rounds since it was completed last July.

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33. Q&A: ‘Oh Willy…’ Directors Marc James Roels and Emma De Swaef On Being Indie Filmmakers

Marc James Roels and Emma De Swaef are an animation duo from Ghent, Belgium. Their work has gained extensive notoriety in the past few years, after their 17-minute wool-animated short "Oh Willy…" swept the festival circuit, racking up countless awards and charming the hearts of audiences across the globe.

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34. Disney To Debut ‘Feast’ At Annecy

"Feast," a new short by "Paperman" head of animation Patrick Osborne, will debut at the Annecy International Animated Film Festival on June 10, Disney announced this morning.

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35. Watch: Bruce Timm’s New Short ‘Batman: Strange Days’

DC Comics has posted online the new Bruce Timm short "Batman: Strange Days" that was created in honor of the character's 75th anniversary.

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36. Bruce Timm’s New Short ‘Batman: Strange Days’ Will Premiere Next Week [Gallery]

Bruce Timm has completed a new short entitled "Batman: Strange Days" which will premiere on Cartoon Network next Wednesday, April 9th, following an episode of "Teen Titans Go!" (6:30pm ET/5:30pm CT). The monochromatic piece, which was created as part of this year's 75th anniversary Batman celebration, pits Batman against Dr. Hugo Strange, a classic "Detective Comics" villain who predates the Joker and Catwoman.

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37. The Meditative and Mysterious Films of Tatsuhiro Ariyoshi

Born in 1984 in Aichi Prefecture Japan, Tatsuhiro Ariyoshi is an independent animator who lives and works in Tokyo. He graduated from the Musashino Art University (Department of Imaging Arts & Sciences) in 2009, followed by a graduate degree from the animation department at the Tokyo University of the Arts.

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38. Second Season of Mickey Mouse Shorts Will Debut in April

A second season of Mickey Mouse shorts will begin airing April 11th at 9pm (ET/PT) on the Disney Channel. Each new short will be available the day after its cable premiere on WATCH Disney Channel, Disney.com, iTunes, and YouTube.

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39. Short of the Week Selects Best Short Films of 2013

The website Short of the Week, which has established itself as one of the preeminent online forums for short film discourse, has announced the winners of their 2014 awards, honoring projects that "took the torch of short film and charged into the unknown [and] explored new genres, new characters, new styles, and left an impression upon us we can’t ever shake."

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40. Latest Issue of ‘Believer’ Contains Exclusive DVD of Restored Hubley Shorts

The Believer is one of the magazines in McSweeney’s indie publishing empire. Published nine times a year, it focuses primarily on books, but occasionally devotes an issue to another topic. This year, the March/April film issue includes a DVD of shorts by John and Faith Hubley, in tribute to John Hubley’s centennial, which happens on May 24th. The disc covers seventeen years of the Hubley’s work together, almost their entire career as a couple. John Hubley died in 1977, and Faith in 2001, and in lieu of any essential DVD releases of their work, this DVD serves as a fantastic introduction to their work. The Hubley’s Oscar-winning short Moonbird (1959) has lately been available as a scratchy public domain print on cheap truck-stop DVD collections of random cartoons. It’s an entirely different experience to see this recently restored print, preserved by the Academy Film Archive. Other restored prints are Tender Game, The Hole and Adventures of an * (1957). And the music scores for these films, from Benny Carter and Lionel Hampton, to Dizzy Gillespie, Ella Fitzgerald and the Oscar Peterson Trio, comprise a who’s who of jazz in the late 1950s. Moonbird and Cockaboody (1973) feature improvised dialogue by the Hubley children, providing an extra free-form quality that is jazz-like in its own way. There are seven shorts in all on the DVD, including the rare mockumentary Date with Dizzy, as well as Cartoon Modern-era TV commercials directed by Hubley and home movie footage. Plus, the accopanying print magazine includes storyboard panels from the Hubleys’ feature-length documentary Of Stars and Men (1964). The DVD was supervised by the Hubley family and Jacob Perlin of Artists Public Domain/Cinema Conservancy. For a full list of the DVDs contents, visit The Believer website. If you’re new to the Hubleys, there are plenty of articles and comments on the web, but I would recommend the late Michael Sporn’s post on Moonbird as a good place to start. The Believer may be ordered from its website if your local bookstore doesn’t carry it. /wp-content/uploads/2014/03/hole-believer-580×388.jpg” alt=”" title=”hole-believer” width=”580″ height=”388″ class=”alignnone size-large wp-image-97204″ />

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41. DreamWorks Promotes Upcoming ‘Home’ with New Short ‘Almost Home’

DreamWorks premiered online a new short "Almost Home" on Buzzfeed this morning to promote their next original feature, "Home," which will debut on November 26, 2014.

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42. First Look: “The Absence of Eddy Table” by Dave Cooper and Rune Spaans

No, these are not snapshots from the latest window display at Kidrobot, they are advance images from the upcoming CG short "The Absence of Eddy Table." The superbly lowbrow PVC collectible aesthetic that you see is the result of an artistic collaboration between Canadian comic artist and illustrator Dave Cooper and Norwegian animation director Rune Spaans.

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43. PES Sells Jewelry With Surreal, Morbid ‘Black Gold’

Leave it to PES, the whiz of the very-short short, to use the visual of a decomposing woman being colonized by insects as a way to sell earrings and brooches.

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44. “Imitation of Life” Sneaks Animation Into the Venice Biennale

The Venice Biennale, the major biannual art festival that is currently ongoing in Venice, Italy, features an animation installation this year. Imitation of Life by Mathias Poledna is housed in the festival’s Austrian Pavilion. The three-minute 1930s-style short was produced by DUCK Studios in Los Angeles, and appears to be a fairly authentic throwback to the classical era, especially in regard to process: it was drawn on paper, inked onto cels and shot on 35mm. (Mark Kausler used similar vintage processes for his recent pair of shorts There Must Be Some Other Cat and It’s the Cat.)

Of course, simply making an animated film isn’t enough to qualify as Art with a capital ‘A’ and it certainly won’t gain a filmmaker admission into the Biennale. Animation has to be recontextualized into a more ‘meaningful’ endeavor, hence this impressively decadent official description for the piece:

A 35mm color film roughly three minutes in length, Imitation of Life was produced using the historic, labor-intensive technique of handmade animation and is built around a cartoon character performing a musical number. Its buoyant spirit and visual texture evoke the Golden Era of the American animation industry during the late 1930s and early 1940s. In the preceding years, the time of the Great Depression, the medium had evolved from a crude form of mass spectacle into a visual language of enormous richness and complexity that shaped and continues to resonate in our collective imaginary.

Imitation of Life appropriates and reassembles this language as it revisits the contradictions and ambiguities that accompanied the medium’s development. Advanced methods of production and visual ingenuity – indebted to the syntax of European modernism in its handling of surface, depth and color, and lauded by the avantgarde and critic intelligence of the time – coexisted with sentimental characterization and storytelling based on age-old fables and fairy tales.

Among the most pronounced features of the film is the extreme contrast between the conciseness of its scene, and the extraordinary amount of labor that went into its creation: more than 5,000 handmade sketches, layouts, animation drawings, watercolored backgrounds and ink-rendered animation cells, produced in close cooperation with acclaimed artists from the animation departments of film studios in Los Angeles, most notably Disney. Several small groups of these drawings are presented in the Austrian Pavilion.

The soundtrack, another key element of the production, was recorded with a full orchestra in the style of the period at the Warner Brothers scoring stage in Los Angeles. It combines new original music created specifically for this project with a re-arrangement of a popular song from the 1930s written by Arthur Freed and Nacio Herb Brown.

Presented in Venice, Poledna’s installation allows for a complex cross-reading with other episodes from this period: the relationship between European art and American mass culture; European emigration to the United States and American export to Europe; the presentation of animated films produced by the Disney Studios at the first film festivals in Venice; the late modernism of the Austrian Pavilion, and the period from 1938 to 1942 during which the building remained empty while Austrian artists exhibited in the German Pavilion.

Beyond its engagement with animation, Imitation of Life incorporates into its fleeting narrative a number of other elements from the early history of entertainment, such as Vaudeville, silent comedy and film musicals, and form diverse artistic forms including film, music, painting and literature. But even while it subscribes to the synergistic logic of its medium, the film deliberately eschews a seamless whole, remaining at once alien and utterly recognizable.

(Thanks, @StephenPersing)

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45. “A Very Fuddles Christmas” Book Trailer by Frans Vischer

Veteran film animator Frans Vischer (Cats Don’t Dance, Curious George, Rover Dangerfield, The Princess and the Frog) has completed his second illustrated children’s book featuring the chubby cat Fuddles. The book is called A Very Fuddles Christmas and will be released on October 1st by Simon & Schuster’s Aladdin imprint. Like the earlier Fuddles book, this new story is accompanied by a charming and lovingly animated book trailer by Frans that gives life to his feline star.

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46. Koji Morimoto Directs Sequence for Lexus-Sponsored Short Film

A little product placement can go a long way, as proven in Mitsuyo Miyazaki’s A Better Tomorrow, a short film about a pair of kidnapped orphans in a water-starved, not-so-distant future.

In the short’s third act, our young protagonists hop into a flying Lexus LF-LC (naturally) and escape their captors via an expressionist anime fantasy sequence directed by Koji Morimoto (Akira, Mmeories Animatrix) with music composed by Simon Webster. Produced by the Weinstein Company and sponsored by Lexus Short Films, the film premiered at Cannes earlier this year.

If you want to see the animated sequence by itself, here it is:

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47. “Obsolescence In Love” by Jon Dunleavy

Obsolescence In Love ( The Ballad of Smiley Face ) by Jon Dunleavy tells the tale of a “twisted romance between a loved up phone and a promiscuous hand.” The sideway-emoticon-as-a-character’s face is a smart creative choice that I can’t recall having seen in animation. Even if it’s been done though, the idea is appropriate and executed flawlessly in this short. The film’s impish lyrics and suggestive imagery pack a surprising amount of comedy in its brief ninety-second runtime. Dunleavy is repped by London-based Tandem Films.

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48. Meet NFB Directors Chris Landreth and Theodore Ushev in New York

The Ottawa International Animation Festival begins tomorrow in Canada, but fret not for New Yorkers who can’t make it—a small part of the festival experience is coming to you.

On Wednesday, September 25, the National Film Board of Canada will present its latest works, headlined by stereoscopic 3D screenings of Subconscious Password by Oscar-winning director Chris Landreth (Ryan) and Gloria Victoria by award-winning filmmaker Theodore Ushev (Lipsett Diaries, Tower Bawher). Landreth and Ushev will attend the screening to discuss their work. Both of these guys are thoughtful artists whose intelligence shines through their work. Their films are always worth seeing and these new works are no exception.

The screening, which is co-sponsored by ASIFA-East and Dimitris Athos of BeFilm, will also include presentations of the following films: Hollow Land by Michelle and Uri Kranot (Dansk Tegnefilm/Les Films de l’Arlequin/NFB), The End of Pinky by Claire Blanchet and Impromptu by Bruce Alcock (Global Mechanic Media/NFB).

The event will take place at the Park Avenue Screening Room (500 Park Avenue at 59th Street). Entry is FREE, but it’s open only to current ASIFA-East members. Tickets are limited and seats must be reserved.

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49. “Rob ‘n’ Ron” Aims for Cartoony CGI

The keyword in computer animation nowadays is “fun.” More and more artists appear to be exploring the possibilities of cartoon-inspired design and movement in CGI. A recent effort in this direction is Rob ‘n Ron directed by Magnus Igland Møller and Peter Smith of the up-and-coming Danish animation studio Tumblehead.

The unlikely combination of real sets—yes, they’re handmade—combined with the Cartoon Modern-esque character designs is immediately compelling. Achieving humorous computer animation with these type of design choices isn’t an easy assignment, but the creators of Rob ‘n Ron handled the challenge with ease.

Their creative solutions to movement can be seen in this rigging demo, which is almost as much fun to watch as the short itself:

Directors: Magnus Igland Møller, Peter Smith
Script and Storyboard: Mads Juul
Backgrounds: Eva Lee Wallberg, Christian Bøving Anderson, Andreas Husballe
Animation: Eva Lee Wallberg, Christian Bøving Anderson, Lars Ellingbø, Peter Smith
Compositing: Lars Ellingbø
Pipeline: Soren Berg Nørbaek
Music and Sound: Thomas Richard Christensen, Peter Smith,
Jody Ann Ghani, Sia Søndergaard

(Thanks, Erik Barkman, via Cartoon Brew’s Facebook group)

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50. “i” by Isabela Dos Santos

The Cartoon Brew Student Animation Festival is made possible by sponsor JibJab and their strong support for emerging filmmakers.

We’ve presented seven truly exceptional student films in Cartoon Brew’s annual Student Animation Festival so far, and today we present our eighth film premiere, i by Isabela Dos Santos, a student in the CalArts Experimental Animation program. It’s a bittersweet moment because Dos Santos’ film marks the final premiere of our 2013 Student Festival, but we can take pride in ending the festival with such a truly unique animated experience.

I uses hand-drawn animation and live-action dance to pose the eternal question, ‘Who am I?’ The film accomplishes the most difficult of the difficult by visualizing inner conflict. Encasing the live dancer is a delicate amorphous figure constructed of wispy lines. These representations of a fragmented psyche—one animated, the other human—converse with each other throughout the film as they try to reconcile themselves into a unified whole.

The choreography of these two figures forms the foundation of the film, and the details of their interaction represent the type of magic that can exist only on film. Dos Santos’ multidisciplinary approach to the film required a collaboration with dancer Yanina Orellana for the choreography and performance, and singer Kate Davis, each of whom contribute something special to the final piece.

Continue reading for comments from the filmmaker Isabela Dos Santos—


In 2011, I was chosen for a scholarship program called YoungArts; I got in as an animator, but part of what they do is bring together 15-18 year-olds of all artistic disciplines for a week at a time to generate interdisciplinary performances. I also grew up dancing, but being with the other YoungArts kids really showed me there was so much more to art and humans than my back-stiffening work animating in windowless rooms. It made me all warm and fuzzy inside to be part of those performances. I began attending CalArts that fall and was frustrated trying to “just be an animator” after all those experiences. I don’t know, I just wanted more than was in front of me, and I had this image in my head of dancing with an imaginary monster. In terms of the story, I’ve always been an identity crisis kind of girl, and it goes with the whole, “identified as an animator but I wish I could be a real moving, dancing human” dilemma. I mean, there’s more to it than that, but you can watch and interpret the rest.


I worked with a dance student from CalArts, Yanina Orellana, for the choreography and original performance, and I had the song picked out beforehand (by Kate Davis, a friend from YoungArts). We worked on the dance before any animation, and I filmed it using a Canon T1i at CalArts’ dance theater. Then things got janky and I taped a peg bar to the edge of my laptop and traced key frames of her performance to paper. I used those as reference for timing and the general positioning, but everything was generated with pencil on paper. Paper cuts and graphite-smudged hands can be so rewarding. I ultimately composited the animation to the video using Adobe After Effects.


It was difficult knowing what to fix. Everyone had a different fantasy of what technique or technology I should incorporate, so it was tough to get feedback that was mindful to my sensibilities—I wanted to improve my skills and the emotions in my piece but I would get overwhelmed by the far-out possibilities people kept bringing up. And trying to describe the love/hate conflict about identity was always a hot mess. Just a lot of confusing conversations that semester. But animating to dance was a great tool—the choreography did all the dirty work for me as far as timing. I like that animation pulls something organic and instinctive out of you when you’re not looking, and this scenario encouraged that. And I learned that I can, after all, combine dance and animation this way. That was important to me, even if i didn’t come out perfect.


I watched just about every dance documentary available on Netflix while I animated. Couldn’t get enough of bloody ballerina toes (just kidding). Norman McLaren, of course, was very encouraging to watch in terms of the line quality of his simplistic yet expressive scratch-on-film, or the treatment of dance in Pas de deux. It felt good to stay in the realm of earlier animation pioneers. It reminded me to do what I needed to tell an honest story, not wow people with technology. I also wrote a lot of essays around that time connecting dance with animation, and it inspired me to see beyond both mediums, to really hold on to the humanity of movement, of expression through movement. I loved getting nerdy about all that—seeing animation as a dance—and reminding myself why it meant so much to me to merge the two mediums together. And I kept taking dance classes.


In five years I’ll probably still be skirting around the animation world, but not in the industry. Like I said, there’s so much more to art and life for me—animation is only part of what makes me happy. I is also fit for live performance, with a scrim projection of the animation like a hologram on stage, and I’ve been able to perform it this way a couple of times now, most recently in NYC for a music festival. It’s a lot of fun. So I have plenty of stage/animation work ahead of me, also working in arts advocacy/administration, writing, and making plenty of non-dance-related animation as well. But it’s all independent or collaborative fun, making art “as a participation in the world of ideas,” one might say. I’d like to continue appreciating it that way. It feels good that way.


BLOG: BelaDosSantos.blogspot.com
VIDEOS: Vimeo.com/BelaDosSantos

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