Fledge
An immigrant teenage girl with feathers on her body, is torn between the need to belong and her own identity.
The haunting true story of a glove that’s been floating in space since 1968.
An immigrant teenage girl with feathers on her body, is torn between the need to belong and her own identity.
This is no animation, it's one picture. Short experimental film by Mirai Mizue
This short experiments with the flow of oil ink over the surface of the water. Mizue manipulated the ink by blowing with straws or stirring with toothpicks and used stop motion animation techniques to shoot the resulting effects.
Filmmaking can sometimes be a very chaotic process. Allie is about to learn it as the director just got one last crazy idea.
A creative political short animation calling for saving time and increasing efficiency in national economic construction.
Made when the director was at the Royal College of Art, an animated film illustrating that life is made up of a succession of meeting and partings.
Linear of Nightmare is a tongue and cheek piece about the pointless of fear. The film is a surreal self-inflicted mental infliction that ultimately leads to its own demise. Fear is worry magnified leading to disconnection between the mind and the body. Fear is just about the worst form of mental activity there is—next to hate, which is deeply self-destructive. Worry is pointless. It is wasted mental energy. It also creates bio-chemical reactions that harm the body, producing everything from indigestion to coronary arrest, and a multitude of things in between.
It ain't easy bein' green -- especially if you're a likable (albeit smelly) ogre named Shrek. On a mission to retrieve a gorgeous princess from the clutches of a fire-breathing dragon, Shrek teams up with an unlikely compatriot -- a wisecracking donkey.
Short animation by Al Jarnow based on the work of British poet Edward Lear. Made at NYU.
A stream of consciousness experiment committed directly to celluloid, Jarnow pays homage to Stan Brakhage and Harry Smith. Abstract designs transform self portraiture, lettering tests and images traced from other films including a Charlie Chaplin short.
Jarnow's first work for Sesame Street and the Children's Television Workshop - yak is a goofy take on the letter "Y."
Tondo introduces the cosmic formalism that was the primary theme of Al Jarnow's independent films. An infinite gridscape alternates with vibrating etchings, spirograms and other surreal realities.
The film is designed to encourage recycling - which was a key part of the war effort.
Intended to be an "animation machine," Four Quadrant Exercise finds Jarnow adapting a perspective system, enabling him to render complex motions almost automatically. Created prior to the streamlined ease of computer software, this short is a commitment to the joy of making marks on paper.
The primary motif in this silent picture is a grid that controls the shapes and motions of forms contained within the framework of a rotating cube. Constructed from interlocking cycles, the film explores branches and loops along paths laid down by geometric logic.
A mad scientist invented a new weapon of mass destruction and offered it to the god of war. The animation was shot in the genre of political satire. The visual solution of the tape proposed by the artist Henrikh Umanskyi is reminiscent of the films of the German expressionist cinema of the 1920s, in particular the legendary film "The Cabinet of Dr. Caligari" (1920). There, too, the main character was a mad scientist, and the events unfolded in distorted scenery that emphasized the state of insanity.
The short follows Saitama after he discovers a 1-yen (about US$0.01) sale for high-grade hot-pot meat — but the sale ends at 5:00 p.m. that day.
Long ago, four extraordinary beings of dual male and female spirit, led by Kapaemahu, brought certain healing arts from Tahiti to Hawaii and were loved by the people for their gentle ways and the miraculous cures they performed.
A 4 minute film based on flowing changing images from liquid-like faces to flashing abstract imagery.
Working, as in other films, with relatively simple materials and a contemplative stance, Ratté begins by exploring the flickering movement of light and its distortion as it is translated into the digital realm, using chromatic excess as a means to corrupt her sources' integrity. These somewhat inform images of natural events slowly morph into geometric grids with which moving human silhouettes are later juxtaposed before we are finally sent back to the abstract shapes that opened the film, now harmonised with these colour-looms and figurative forms.