Bruxelles, The Festival
Philippe Moins, the Festival's founder, presents the whys and wherefore's of the event which starts off each festival year.
Festival Programming
Many time festival programmer and juror Otto Adler provides his viewpoint on the ins and outs of selecting and programming films.
Bruxelles, le Festival
Philippe Moins, the Festival's founder, presents the whys and wherefore's of the event which starts off each festival year.
Il Paese degli animali
Are you wondering what to give someone, who works in animation or aspires to this holiday season? Well, wonder no more. The Career Coach has the answer.
Festival Reasonings
A international selection of filmmakers, executives and others share their thoughts about why animators should consider sending their works to festivals.
Il Paese degli animali (Animaland)
Danny Fingeroth spins through the new book by Michael Mallory that covers everything Marvel in big, bold and glossy pages.
To Be or Not To Be An ASIFA-Sanctioned Festival
Chris Robinson, Director of the Ottawa Festival takes a hard look at the relationships between festivals and the international animators' association which accredits them.
La Freccia Azzurra
Scarafoni in La Freccia Azzurra by Enzo d'Alò.Usa il computer in maniera raffinatissima, questo film: cosraffinata che quasi non si vede. Guidata dal cervello elettronico, la sua macchina da presa compie carrellate ed evoluzioni che sarebbero possibili solo nel cinema "dal vero"; disegnati dai pixel, i suoi personaggi arrivano a disporsi su 30-40 livelli in profonditdi campo, rimanendo tutti perfettamente a fuoco. questo uno dei segreti della fondamentale leggerezza di un film che non assomiglia a nessun altro, e che riesce a narrare una divertente e gentile fiaba...
Rendezvous In Annecy: An Interview With Jean-Luc Xiberras
Annick Teninge talks with the current director of Annecy, the granddaddy of all animation festivals, about how and why it has changed over the years.
La Freccia Azzurra (The Blue Arrow)
La Freccia Azzurra (The Blue Arrow) is a film that uses computers in a highly refined manner; so much so, that one hardly notices. Guided by an electronic brain, its camera is able to execute tracking shots and pans which one only thought possible in a live-action movie; drawn with pixels, the film's characters are seen across 30-40 levels, with each one staying in perfect focus. This is one of the secrets to the basic "lightness" of a film like no other, one which tells an amusing and fun-loving fairy tale set in the 30s, with the touch of a modern electronic storyteller. Scarafoni...
Rendezvous In Annecy: An Interview With Jean-Luc Xiberras
Annick Teninge talks with the current director of Annecy, the granddaddy of all animation festivals, about how and why it has changed over the years. [
Yvette Kaplan On the Beavis and Butt-head Watch
Janet Benn provides a case study of the role played by Animation Director Yvette Kaplan on Beavis and Butt-head Do America, while saying more than a little about who Yvette is.
Editor's Notebook
Editor's Notebook: Festival Matters
Desert Island Series . . . Festive Festivalers Make Their Picks
Tom Knott, Gigi Hu, Chris Robinson, Philippe Moins and Yvette Kaplan.
Beavis and Butt-head Do America
Many time festival programmer and juror Otto Adler provides his viewpoint on the ins and outs of selecting and programming films.
Dirdy Birdy
January 1997's Dirdy Birdy by John Dilworth.
Animation Festivals: A Brief History
Bruno Edera probes the history of international animation festivals, showing their origin goes back further than most people think.
Festivals de Films d'Animation
Bruno Edera probes the history of international animation festivals, showing their origin goes back further than most people think.
Mars Attacks!
Janet Benn provides a case study of the role played by Animation Director Yvette Kaplan on Beavis and Butt-head Do America, while saying more than a little about who Yvette is.
The Changing Face of Festivals
Tom Knott, the former director of the Ottawa Festival, takes a look at how festivals have changed over the past few years, in terms of quality, independent filmmaking, and as a venue for the major studios.
Waiting for Hugo
The Hunchback of Notre Dame (French Release Version).
Street Fighter--From Video Game to Anime
Capcom's popular Street Fighter games have spawned a slew of movie and TV adaptations both in Japan and the US. Brian Camp reports.
Visioneering: Interactive Animation at Creative Capers
Creative Capers had a happy existence doing animation for Hollywood feature films until the CD-ROM revolution came along. Harvey Deneroff takes a peek at what's doing there animation-wise.
Space Jam
Let's face it, there is no avoiding Space Jam. Warner Bros. really pulled out all the stops to make sure the film opened big, which it did. In so doing, they finally proved that Disney is not the only one that has the ability to make and successfully market an animated feature as a major event. Thus, the psychological hegomony that was Walt Disney Feature Animation is no more. In this context, it seems rather picky to cast any sort of critical eye on it. After all, aren't the special effects and the marriage of live-action and animation terrific? Well, yes, most of the time, but...
Daffy...
Dirdy Birdy
A international selection of filmmakers, executives and others share their thoughts about why animators should consider sending their works to festivals.
