Animation in Russia. Animation in Japan.

AD 502 - Seminar in Contemporary Theory | Fall 2006 | Daria Tsoupikova | School of Art and Design | UIC

Animation in Russia.Animation in Japan.

Yuri NorsteinIvan Inanov-VanoFeodor Khitrouk

Renzo KinoshitaYoji KuriKihachiro KawamotoOsamu TezukaHayao MiyazakiYoichiro Kawaguchi


Soviet animator and director, sometimes called the "Patriarch of Soviet animation" laureate of numerous festivals

• 1900 born in Moscow

• 1923 graduated from Vkhutemas

• 1929 began working at the State Film Technicum

• 1939 was teaching at VGIK(he was granted the title of professor in 1952)

• 1962 member of the board of directors of ASIFA

Ivan Ivanov-Vano (1900-1987)


• 1927 Ice Rink • 1927 Sen'ka the African • 1928 The Adventures of Munchhausen • 1932 Black and White - with L.A.Amalriko• 1934 The Tale of the Czar Durondai with V.C. and Z.C.Brumberg• 1935 The Dragonfly and the Ant with V.C. and Z.C.Brumberg• 1937 Kotofey Kotofeyich • 1938 Journal of Political Satire 1 • 1938 The Three Musketeers• 1939-1954 Moidodyr • 1944 Stolen Sun • 1945 Winter Tale• 1949 Geese-Swans with A.G.Snezhko-Blotska• 1970 The Battle of Kerzhenets a collaboration with Yuriy Norshteyn• 1976 The Humpbacked Horse - remake of 1947 film• 1984 The Tale of Tsar Sultan - based on a tale by Pushkin



• 1941 born in Andreyevka, Penza, USSRwidely regarded as one of the most innovative animators of all time

• 1943 during WWII family were evacuated to Moscowstudied at art school, worked in a furniture factory before embarking on a two-year course attached to the state animation studio Soyuzmultfilm

•

Yuri Norstein b.1941


1961 started work as an animator in Soyuzmultfilmmet his future wife and creative partner, Francesca Yarbusova, with whom he collaborated on many of his films.

worked as an animation artist on some 50 films

• 1967 his first film 25th, the First Day

Through this project I discovered that animation is plastic time. This influenced all my subsequent work and I learned another lesson from this film: never make a concession if it goes against your conscience'.

1971 The Battle of Kerzhenets in collaboration with Ivan Ivanov-Vano.

1973 The Fox and the Hare

1974 Heron and Crane based on a Russian fairytale



• 1975 Hedgehog in the Fog



• 1979 Tale of Tales

widely regarded as Norstein's masterpiece and is the result of his third collaboration with Yarbusova and Zhokovsky, who photographed houses and old cars in the Moscow neighbourhood where Norstein had grown up.

1984 an international panel of animation experts proclaimed Tale of Tales the best animated film of all time.



with Yarbusova and cameraman Alexander Zhokovsky invented a machine which allowed them to animate on layers of glass.

• 1995 awarded the Russian Independent Triumph Award, which acknowledges 'the highest achievements in art and literature'.

• The Overcoat



one of the most influential animators and animation directors in Russian animation

Fyodor Khitruk b. 1917


• 1917 born in Tver, Russia

• 1936 graduated from graphic design program at the OGIS College for Applied Arts in Moscow

• 1938 started to work with Soyuzmultfilm as an animator

• From 1962 worked as a director



• 1962 Story of A Crime - was an immense success.

• 1964 Toptyzhka

• 1965 Boniface's Holiday



• 1966 Man in the Frame

• 1967 Othello 67



• 1968 Film, Film, Film Winnie-the-Pooh (Винни-Пух, 1969)

• 1970 The Young Friedrich Engels • 1971 Winnie-the-Pooh Goes on a Visit • 1972 Winnie-the-Pooh and the Day of Concern



1973 Island• 1974 I Grant You A Star • 1976 Icarus and the Wise Men• 1982 Olympiad• 1983 Lion and Ox



• 1993 founded the Animation School and Studio (SHAR Studio) in Russia with Yuriy Norshtein, Andrey Khryanovsky, and Edward Nazarov. The Russian Cinema Committee is among the share-holders of the studio.

awarded innumerable awards by all major film festivals

lives in Moscow



Ancient Shinto mythology (Shinto pantheon with large number of deities)

manga (comic book)

Anime (animation industry)

1980s-1990s intended for purely domestic audience, but spread all over

the world.

• Sheer quantity of material• Anime is easily adaptable through dubbing, cutting and editing. • Most anime characters are light-skinned with no racial or ethnic

attributes

Animation in Japan.


Manga and anime share symbiotic relationship

Most anime are based on popular manga

Manga: American comic book styles and Japan’s own rich illustrative traditions such as e-maki (picture scrolls) and ukiyo-e (woodblock prints)

Anime: dramatic effect derived from Noh, Kabuki, Bunraku and Takarazuka theatrical traditions. These include sound effects, stylized poses, tableau effects, and the elegant androgyny

Animation in Japan.


Manga and Anime resurrect ancient mythologies and use them to create new myths suited to the needs of postmodern Japan and most of the world

• Global economies, multinational corporations, and shifting moral and social climates there seem to be little opportunity for individual to achieve heroic stature-many animated heroes are mutants and aliens with superpower.

• Environmental degradation.

• With the rise of Bio-engineering, cloning, and organ transplants many anime use robots to embody the techno- fear concerns of the effect of machine byproducts on the humanity.

• Mythologies rewritten to meet contemporary needs.

Animation in Japan.


• 1936 born in Osaka, Japan

• 1967 began working as an independent animator with his wife Sayoko

main focus was his own little films and documentaries

made commercials to subsidize his independent films

Renzo Kinoshita (1936-1997)


• 1972 Made in Japan Grand Prix at the New York International Animation Festival

• Vice president of ASIFA (The International Animated Film Association)

• 1977 Japonese --a send up of Japanese features



• 1978 Picadon --a moving portrayal of the horror of the A-bomb attack on Hiroshima

• 1981 established the ASIFA Japan national group

• 1985 the first Hiroshima Animation Festival was held as a result of long years of tireless work by him and his wife Sayoko.

• 1993 The Last Air Raid Kumagaya



• 1928 born in Fukui, Japan

Attended military high school

• 1941-1945 worked in an aeroplane factory

• 1945 entered Kyoto School of Fine Arts

• 1947 transferred to Tokyo Bunga Gakuin art academy

• 1950s began work as a comic artists publishing in newspapers and magazines

• 1955 one-man show- comics, paintings, sculpture

Yoji Kuri b. 1928


• 1956 published COO collection of drawn stories with no words which won a national prize

• 1960 opened Kuri Jikken Manga Kobo production company for short films

Founded three Designers – polemical movement claiming that Japan animators should follow the very rich iconographic tradition of Japan rather than foreign suggestions

Yoji Kuri b. 1928


• 1962 Human Zoo

• 1963 Locus

• 1963 Love

• 1964 AOS

• 1965 The man next door

• 1971 The Bathroom

• 1972 Midnight parasites inspired by Bosch and Borowczyk• 1977 Manga

Yoji Kuri b. 1928


• 1925 born in Sendagaya, Japan

was captivated by the art of doll and puppet making from the early age

Kihachiro Kawamoto b.1925


• 1952-56 Worked as a puppet maker for animated puppet films, such as "Little Black Sambo", "Kobutori", "A Magic Drum" etc. (35mm, approximately 12min. )

• 1957 Worked as an animator, puppet maker and assistant director at an animated puppet film, "The History of Beer", 35mm, colored, 11min.)

• 1958 co-founded Shiba Productions to make commercial animation for television, advertising animated puppet films for TV, and produced many animated puppet films.

• 1962 quit the company.



• 1963 Studied at the studio in Prague, Czechoslovakia with Jiri Trunka.

Trnka encouraged Kawamoto to draw on his own country's rich cultural heritage in his work, and so Kawamoto returned from Czechoslovakia to make a series of highly individual, independently-produced artistic short works

• 1965-66 Began to work as a free-lanced artist and produced animated puppet films for TV program.

• 1968 Produced my own animated puppet film, "Hanaori/ Breaking Branches is Forbidden" (16mm, color, 14min.) Won Silver Prize at the Mamaia Festival.



• 1970 Produced my own puppet animation film "Kenjugiga/ Anthropocynical Farce" (35mm, 8 min.)

Heavily influence by the traditional aesthetics of Noh, Bunraku doll theatre and Kabuki, since the 70s his haunting puppet animations

• 1972 Produced own puppet animation film "Oni/ The Demon", (35mm, color, 8min.) Won Prize at the Mainichi film contest in Japan, and Special Award at The Melbourne Festival 1973, and the work was mentioned at the Annecy Festival.

• 1973 Produced my own cut-out animation film "Tabi/ The Travel" (35mm, color, 12min.)

• 1974 Produced my own cut-out animation film "Shijin no Shogai/ A poet's Life" (35mm, color 19min.) Won the Prize at The Mainichi Film Contest in Japan



• 1976 Produced my own puppet animation film "Dojoji/Dojoji Temple" (35mm, color, 19min.) Won the Prize at the Mainichi Film Contest in Japan '77.

• 1980s-1990s designed the puppets used in the long-running TV series based on the Chinese literary classic Romance of the Three Kingdoms (Sangokushi, 1982-84), and later for The Story of Heike (Heike Monogatari, 1993-94)

• 2003 was responsible for overseeing the Winter Days (Fuyu no Hi) project, in which 35 of the world's top animators each worked on a two-minute segment inspired by the renka couplets of celebrated haiku poet Matsuo Basho.2005 The Book of the Dead (Shisha no Sho) is Kawamoto's second feature length stop motion puppet animation, after Rennyo and His Mother



Osamu Tezuka created a revolution in comics and animation. • 1928 born is 1928 in Toyonoka, in Osaka, Japan.

Osamu Tezuka (1928-1989)


• 1947 enrolled in college as a medical student

made his debut as a cartoonist with a four panel newspaper comic strip titled "Ma-chan's Diary." "New Treasure Island", "Lost World" and "Next World", became smash hits, selling what was then unthinkable for comics-over 400,000 copies each-and making him nationally famous.

In comics, in particular, he pioneered long narratives of hundreds, even thousand of pages, bringing "cinematic" art styles and novelistic plots to the medium

• 1950 he had firmly established his position as the leading comics artist of his day when he serialized his now-classic work Kimba the White Lion in the monthly magazine, Manga Shonen.

• 1952, he began serializing "ASTRO BOY" as becoming one of Tezuka's most popular and famous works



• 1953 Princess Knight • 1961 founded Mushi production company• 1963 Astro Boy animation series• 1965 Kimba the White Lion



• 1966 Pictures at exhibition based on Mussorgsky music• 1973 created Tezuka Productions – more flexible organization• 1980 the cosmic zone of love• 1980 the Phoenix

works centered on values of piece, love for nature and social participation.

• 1984 Jumping

“Those who jump are you,

the public, humanity. We humans

have tendency to go too far with

what we do. Often this becomes

a dilemma or a catastrophe.”



• 1985 Broken down film – parody for American silent movies

On February 10, 1989, the day after Tezuka passed away, Japan's Asahi Newspaper explained the contribution of this great artist as follows:

"Foreign visitors to Japan often find it difficult to understand why Japanese people like comics so much. For example they often reportedly find it odd to see grown men and women engrossed in weekly comic magazine on the trains during commute hours. One explanation for the popularity of comics in Japan, however, is that Japan had Tezuka Osamu, whereas other nations did not. Without Dr. Tezuka, the postwar explosion in comics in Japan would have been inconceivable.”




My pieces are being carried out on a paradigm that"growth model is created by the recursive structureof the self-organization, thus being the fruit ofcomplexed form of evolutional cells.“

Yoichiro Kawaguchi


1952 born on on Tanegashima Island.

1975 first computer images.

1976 degree in Visual Communication and Designfrom the Kyushu Institute of Design.

1978 received his Master of Fine Artsfrom Tokyo University of Education.

1982 a regular participant in the Siggraph events.

1986 involved in research work for High Definition TV (HDTV).

Associate Professor of Computer Graphics Art at Art & Science Lab, Department of Art, Nippon Electronics College, Tokyo.




an algorythm-backed complex that builds and generates formsvia its recursive structure. By running a genetic program, thecomputer creates images of new forms that, although not real,are abstractions of a distinctly organic nature.

The "GROTH Model" is a way to give an unforeseen form to theprogress of time. The model is not intended to create or afaithful representations of reality but to produce a newbionomic pictorial space backed by an algorithm. It is a "lifeform of probability."

“Growth model”



Pollen 1975Lines 1976Ecology 1976Shell 1976Grown 1977Tentacle 1980Horn 1981Tendril 1981Fern 1982Growth 1983Zooid 1984Morthogenesis 1984Origin 1985Ocean 1986Cosmo 1987Float 1987

Filmography

Tempter 1988Embryo 1988Flora 1989Eggy 1990Festival 1991Mutation 1992Cell 1993Coacervater 1994Gigalopolis 1995Neurar 1996Paradise 1997Fossy 1999Wriggon 1999Nebular 2000Gemotion 2001



Pollen 1975



Ecology 1976



Shell 1976



Grown 1977



Horn 1981



Tendril 1981



Growth 1983



Zooid 1984



Morthogenesis 1984



Origin 1985



Ocean 1986



Embryo 1988



Flora 1989



Eggy 1990



Festival 1991



Mutation 1992

AD 508 - Advanced Electronic Visualization and Critique | Spring 2006



Cell 1993




Gemotion 2001




Gemotion 2002 SIGGRAPH


Animation in Russia. Animation in Japan.

Documents

Transcript of Animation in Russia. Animation in Japan.