Yuri Norstein’s intervew in Kino Art about ‘Winter Days’ – [part 1]

ในปี 2004 Kino Art นิตยสารรัสเซียได้ตีพิมพ์บทสัมภาษณ์ของผู้กำกับ Yuri Norstein ที่เป็น 1 ใน 36 ศิลปินที่ร่วมในการสร้างสรรค์ผลงานภาพยนตร์ญี่ปุ่นเรื่อง ‘Winter Days’ เมื่อปี 2003 (สัมภาษณ์โดย Tatyana Iensen) ซึ่งตัวผู้เขียนเองได้มีโอกาสอ่านบทความนี้แบบคร่าวๆเมื่อตอนทำ Thesis ตัวจบอยู่ แต่วันนี้บังเอิญได้มาอ่านอีกครั้งจึงคิดอยากจะนำมาแปลเป็นภาษาไทยเพื่อให้ตัวเองได้ตั้งใจอ่านอย่างละเอียดและเชื่อว่าบทสัมภาษณ์นี้น่าจะเป็นแรงบันดาลใจที่ดีให้กับคนที่ทำงานศิลปะด้านนี้ด้วยเช่นกันค่ะ

การอ่านบทสัมภาษณ์นี้จะสะท้อนให้เห็นถึงมุมมองของ Yuri Norstein ที่มีต่องาน ‘Winter Days’ และต่อการทำงาน animation เราจะได้เห็นความคิดของเขา และความรู้สึกยังไม่พอใจกับงาน ด้วยความที่เขาให้รู้สึกและให้ความสำคัญกับพลังของบทกวีจาก Basho อย่างละเอียดอ่อนจริงๆ ถือว่าเป็นโอกาสที่ดีที่จะได้จินตนาการตามความคิดของเขาไปด้วยกันค่ะ


Chikusai in Winter Days by Yuri Norstein

Winter Days (冬の日 Fuyu no Hi ) เป็นหนังอนิเมชั่นญี่ปุ่นปี 2003 ที่กำกับโดย Kihachiro Kawamoto
สร้างจากหนึ่งในบทกวี Renku (การเขียนกลอนต่อกันแบบกลุ่ม) ปี 1684 ของ Basho นักกวีญี่ปุ่นสมัยศตวรรษที่ 17

การสร้างหนังเรื่องนี้ทำไปในรูปแบบเดียวกับวิธีการสร้างสรรค์งานร่วมกันแบบดั้งเดิมของบทกวีที่เป็นตัวตั้งต้นของงาน การออกแบบภาพสำหรับทั้ง 36 บทกวีนั้นถูกสร้างขึ้นมาอย่างอิสระโดยนักทำภาพยนตร์อนิเมชั่นทั้งหมด 35 คน นองจากจะมีนักทำภาพยนตร์อนิเมชั่นชาวญี่ปุ่นเองหลายคนแล้ว Kawamoto ยังเชิญนักทำภาพยนตร์อนิเมชั่นชื่อดังจากทั่วโลกมาร่วมด้วยอีกมากมาย นักทำภาพยนตร์อนิเมชั่นแต่ละคนถูกขอให้สร้างสรรค์งานเพื่อประกอบบทกวีของตัวเองได้รับโดยมีความยาวไม่เกิน 30 วินาที (ในส่วนของ Yuri Norstein เองมีความยาวประมาณเกือบ 2 นาที)

ภาพยนตร์อนิเมชั่นที่ออกมามีความยาวทั้งหมด 40 นาที พร้อมด้วยสารคดีเบื้องหลังการทำงานยาว 1 ชั่วโมง ที่รวบรวมการสัมภาษณ์นักทำอนิเมชั่นเอาไว้ ‘Winter Days’ ได้รับรางวัล the Grand Prize of the Japan Media Arts Festival ในปี 2003

อ่านเพิ่มเติมเกี่ยวกับภาพยนตร์เรื่องนี้ได้ที่ http://en.wikipedia.org/wiki/Winter_Days


Yuri Norstein & Francesca Yarbusova; Japan, 1996

Yuri Norstein (Yuriy Norshteyn) เป็นผู้กำกับหนังอนิเมชั่นที่มีชื่อเสียงที่สุดในรัสเซียคนหนึ่งเลยก็ว่าได้ โดยมี Francesca Yarbusova ที่เป็นทั้งภรรยาและผู้ร่วมงานออกแบบฝ่ายศิลป์ทั้งหมดให้กับหนังของเขา (Yuri กำกับ, animate, และเขียนบท) โดยส่วนตัวแล้วชอบมากที่ได้เห็นคู่รักทำงานศิลปะด้วยกัน แหะๆ

ตัวผู้เขียนได้เริ่มรู้จักกับ Yuri Norstein ครั้งแรกผ่านเจ้าเม่นน้อย Hedgehog in the fog ใน youtube

โดยฉากที่แทบหยุดหายใจคือฉากหมอก และฉากเงาสะท้อนในน้ำที่สะท้อนเนียนมาก
Hedgehog in the fog เป็นอนิเมชั่นในปี 1975 ในยุคนั้นยังไม่มีโปรแกรมช่วยเหลือในการตัดต่อมากนักเท่าปัจจุบันนี้ แต่งานนี้มีความละเอียดอ่อน ซับซ้อนและดูลึกลับมาก ทั้งยังมีเสน่ห์เหมือนบทกวี สำหรับตัวผู้เขียนแล้วนี่มันมากกว่าจะเป็นแค่อนิเมชั่นสำหรับเด็กเสียอีก (มีตีพิมพ์ออกมาเป็นนิทานสำหรับเด็กด้วยค่ะ ภาพสวยมากๆ)

แถม Yuri Norstein กับปู่ Hayao Miyazaki ยังต่างชอบงานของกันและกันถึงขึ้นมี interview แลกเปลี่ยนความคิดกันผ่านการพูดถึง Ghibli Museum ด้วย (ภาษาญี่ปุ่นก็ฟังไม่ออกอีก ได้แต่อ่านแปลภาษารัสเซียที่เค้ามีให้แต่ก็ดีนะคะ แนะนำให้ลองดูค่ะ) https://www.youtube.com/watch?v=VO6_LBYWgU4

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Image

Check out new work on my @Behance portfolio: “‘視力’ : SIGHT”

Just updated my animated film for final project 2013
Feel free to leave comments and share 🙂
Thank you!

https://www.behance.net/gallery/-SIGHT/12287271

Living Cinema : Bob Ostertag & Pierre Hébert

Living cinema at Reading Room

 

Living Cinema: Live Experimental Sound and Image Performance

By Bob Ostertag & Pierre Hébert
Saturday April 27, 7pm
At The Reading Room, Silom 19

The project brings the creation of cinema out of the movie and recording studios and on to the stage. Ostertag has created innovative software which allows the two artists to actually perform an animated movie with soundtrack, live of stage.

For decades, Pierre Hébert was considered one of the masters of the unusual craft of creating animated films by engraving directly on film. Living Cinema allows him to apply the craftsmanship acquired through years of engraving on film to whatever materials he wishes to use. Ostertag brings his years of experience with live manipulation of sampled sound to the project, using a variety of objects and techniques to create a soundtrack that is synchronized with the image as both are both being created. The flexible, open-ended character of Living Cinema gives the artists the ability to respond immediately to political and cultural events in a way that conventional cinema never could. The work is thus profoundly influenced by world events.

Living Cinema has performed at major museums of modern art in the US, Europe, and Japan, at Lincoln Center, and at many major international film festivals since 2000.

About the artists:
Bob Ostertag is a composer and writer who has been doing experimental music at major venues around the world since the late 1970s. Composer, performer, historian, instrument builder, journalist and activist, Ostertag’s work cannot be easily pigeonholed. He is widely hailed as one of the great exponents of spontaneous electronic composition of the last 30 years. He has performed at music, film, and multi-media festivals around the globe. His radically diverse collaborators include the Kronos Quartet, John Zorn, Mike Patton and Anthony Braxton. His writings on contemporary politics have also been published on every continent and in many languages. He is currently Professor of Technocultural Studies and Music at the University of California at Davis.

Pierre Hébert is a filmmaker and protégé of Norman McLaren. He has been a major figure in animation for many decades and the recipient of several lifetime achievement awards. He was first known for his abstract experimental films dealing with perception phenomena; later, his films became more socially and politically involved. He has also taken part in live performances with musicians and choreographers and his films evolve from multidisciplinary practices. Throughout his career, Hébert has experimented with hybrid cinematic forms as a way of expressing his anthropological and humanistic view of the world, exploring themes of urban alienation, social politics, the particularities of place and geography, the presence of forgotten histories in everyday life, and the impact of industry upon the environment.

More info:
http://bobostertag.com/music-liveprojects-livingcinema.htm
http://en.wikipedia.org/wiki/Bob_Ostertag
http://www.pierrehebert.com/
http://www.youtube.com/watch?v=UoKEYBVld6I

Image from the gallery Inner Shields. ©Pierre Hébert

Focus on Animation : Pierre Hebert

Couldn’t believe that I met them today and really talked to Hebert! Even it’s a very short conversation due to a lot of people is also waiting to talk to him, he’s very very kind artist. I really wish that I could talk to both of them! The performance tonight was epic! Hebert talking about his life and he’s mention about Norman McLaren that I’ve already forgot about him so I searching about him again. And after that I research more about Bob Ostertag & Pierre Hébert, I recommend you, if you haven’t heard this name before or you’re interesting in animation, to spend sometime visit those links. You won’t be disappoint! 🙂

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Master animator I loved : Yuriy Norshteyn

Hedgehog and the owl

I was happened to know Yuri Norstein with the help of this little Hedgehog and its fascinating fog with horse. After that I start to learn about Russia animation and many other Russian animators and couldn’t help fall in love with other film from Yuri’s. Here’s the Piece I’m talking about “”  his animated shorts, Hedgehog in the Fog

Yuriy Borisovich Norshteyn PAR (Russian: Ю́рий Бори́сович Норште́йн), or Yuri Norstein (born September 15, 1941) is an award-winning Soviet and Russiananimator best known for his animated shorts, Hedgehog in the Fog and Tale of Tales.

In April 1993, Norshteyn and three other leading animators (Fyodor KhitrukAndrey Khrzhanovsky, and Edward Nazarov) founded the Animation School and Studio (SHAR Studio) in Russia. The Russian Cinema Committee is among the share-holders of the studio. And that’s the place I wish to study further!

On the screenwriting class today, I present one of his work in Japanese project [English translation on Yuri Norstein interview]

Discussing on the reason behind choices director choose to present the work as it is, I research more to learn about the project itself with Japanese director and how Yuri worked on it. Conclusion is that Yuri use less elements but get more just the way Haiku works, less words but can interpret as many pictures.

Here’s one from the whole interview I like,

Basho, too, couldn’t be lured by money or good conditions or with the words: “Why are you walking in your rags upon roads, under rain and snow?” His words roamed the paths. His verses were his messengers. He himself walked barefoot. Nobody had the power to make him settle down, find a home, enjoy a nice fire and write poetry. He kept walking and walking on his roads and paths. Sometimes a helper would assist him, help him with the load. More often, Basho walked alone. The burdens of the road weighed heavily on his swollen feet. His hands were freezing. After all, you are the only one who can feel the burdens of your own life. You can’t feel the pleasure of a walk if you send someone instead of you to do it. It has nothing to do with money. You yourself have to overcome these burdens, the pain in your feet, with your own power, and no one can take it away. But too often modern man relies on his possessions, which in the end separate him from the essence of life and devour him, so that he loses even the tiniest amount of knowledge about life and feelings for other humans.

Video

TOGETHER : inspiring animation blog on social content

wearetogether_logo

Surfing randomly through Stuff pick in Vimeo then I found this interesting concept of the company. While scanning through their website I still get the smily face of the logo stuck in my head and it make me lift-up unconsciously and feel really happy just to looking at their work. I can feel that people working here are friendly and are positive thicker. They described themselves like this : (original content at http://wearetogether.ca/content/about/)

We are: TOGETHER

Founded in the spirit of independent and collaborative creation, TOGETHER: Words+Pictures for Art & Culture develops and produces animated content for the arts, cultural, and non-profit communities. We are happy writing, designing, and animating content for documentaries and films, theatrical stage visuals, art exhibit promos, and book trailers.

Here’s one of the work they created, it’s really cute!


Beastly Bards: Typesetter Blues

Typesetter Blues is a 3-minute animated short starring a likeable monster named Harold. In this melancholy love story, Harold falls for a new coworker, who unfortunately falls harder for someone else.

WEBSITE http://wearetogether.ca/content/

BLOG http://wearetogether.ca/content/together-blog/

VIMEO  http://vimeo.com/wearetogether

Post-graduate studies

Russia
tuition fee : 360,000 RBU for two year (358,187 THB) (15000 RUB per month, 180000 RUB per year) / living expense : 10000 Ruble per month [ ค่าเทอมสองปี 360,000 + ค่าครองชีพสองปี 15000×24 = 360,000 + ค่าเครื่องบินไปกลับและวีซ่าและจิปาถะอื่นๆ 40,000 + ค่าเรียนภาษารัสเซีย 9,500 สองระดับในไทย + 6,200×6= 13,200 + ค่าครองชีพระหว่างเรียนภาษา 15,000×6 =90,000 รวมทุกอย่างตั้งแต่เรียนภาษาในไทย.รัสเซียและเรียนต่อจริง =872,700 ]
http://www.sharstudio.com/ru/
http://www.pairussia.com/2011/03/07/ชำเเหละทุนรัฐบาลรัสเซี-2/

*Students who have shown themselves the results of entrance examinations or the 1st semester, training opportunities FREE(grant of scholarship.) ???

list of art works for the preliminary creative competition:
1)drawings from life,compositions, scatches of animals and human characters in moovement (graphic);
2) animation film review (1 or more) or analysis of famous animation author art
3) carricatures (if you have);
4)project of your own animeted film  (idea, scenario plan, storyboard with some text comments)

5) essay “the brightest impression of my life”

6) essay “why do I choose this proffession”!! All artwork pieces should be signed.In addition to artwork, applicants must submit the following:1.Application for admission to a course
2.Autobiography (application form)
3.Copy of Diploma of Higher Education
4.Filmography (desired but not necessary)
5.Two photos 3×4 cm.The examination comprises terms of creative engagement related to future profession and interview to determine the applicants cultural level and knowledge in cinematographic art area.
Acceptance of artwork pieces for preliminary creativity competition – from 1st April to 15th June
All classes at School Studio SHAR are conducted in Russian, student must be able to communicate clearly in written and spoken Russian.Exams include:
1) writing task connected with future profession
2) interview that revials entrant’s general cultural level and level of his knowledge in field of cinema art.
 

Acceptance of artwork pieces for preliminary creativity competition – from March to June.
Examination, interview – July 2013. : The lessons will begin in October (2015).

Germany
tuition fee : ok / living expense : ok [accommodation = ok] anywhere in German can apply for DAAD : GERMAN language
*scholarship The DAAD will pay a monthly scholarship of 750 euros. As a rule, the scholarship additionally includes certain payments towards health insurance cover in Germany. In addition, the DAAD generally will pay an appropriate flat-rate travel allowance, unless these costs are covered by the home country or by another funding source. Furthermore, the DAAD will pay a study allowance and, where appropriate, a rent subsidy and family allowance.
http://www.daad.or.th/imperia/md/content/informationszentren/icbangkok/scholarships8/leaflet_fineart_design_film.pdf

 

Kunsthochschule für Medien Köln: Aktuelles

http://film.khm.de/en/film-in-general/animation/

International student guidebook

Application

guideline course Summer2013

Begin of studies
All studies begin annually in the winter semester, approx. 60 students are accepted.

Application deadlines
End of January / beginning of February. The exact application deadline is announced in October by the student office or can be found on the website www.khm.de, where application forms are also available.

Admission requirements
Higher education entrance qualification and confirmed artistic skills are required for all courses of study.
4-semester diploma degree course (II): A completed degree course in an area relevant to the intended postgraduate course of study or two years practical work experience in art and design.

Fees
approx. € 260 per semester for AStA, student services, NRW ticket, health insurance, etc. – for both german and foreign students.

**

Note: The Courses are held in German!

Entrance requirements for the four-semester Degree Course II
A degree from an institution of higher education in a field relevant to the four-semester Degree Course  (for example, art, literature, theatre, film and television in art and science courses; communications design, visual communication; cultural studies, computer science).

or

Higher education (i.e. University) entrance qualification and at least two years professional experience in artistic design. Applicants take a classification test in conjunction with the admission selection procedure to assess artistic aptitude. Accepted applicants then have the opportunity to enter a course of studies at the level of the sixth semester of the undergraduate diploma course (Main Study programme). Those interested in the four-semester study course, who do not want to acquire a diploma, can — after successful assessment — receive a certificate.

Hochschule Luzern: (FH Zentralschweiz/FHZ) สวิส T^T

Admission procedure 2013
First Part: Registration and documentation (with portfolio)
Sign up:
The online registration form can be found on the Internet at http://webanmeldung.hslu.ch/
Please submit the following:
 Application form (a copy of the documents to be submitted as noted BA diploma, etc.)
 CV
 Letter of motivation
(Key questions may be:? With what I have explained me why What are my Strengths? What area I would like to expand and deepen my knowledge? Why do I apply me for a master? I want to learn what is added? (Scale 1 to 2 A4 pages)
 documentation of previous creative work (portfolio)
 If you already follow a concrete project idea: Written project proposal for design work
Registration deadline: 02/04/2013
The documents and the portfolio can be sent by post or by mail or in person be sold. Make sure to note the opening times of the Secretariat in the schoolhouse Sentimatt:
8:00 to 11:30 / 13.30-16.30 clock Address: Lucerne University – Art and Design, MA Design, schoolhouse Sentimatt, causeway, CH-6003 Luzern, or by e-mail at: helen.dahinden @ hslu.ch
 Our communication with you needs information about the current and functioning email Address, a phone number where we can reach you, and a correct mailing address.
 For the recording process from the time the portfolio submission is a charge of CHF 125 -due. An invoice will be sent after the submission of the documents.
If free places available, are also after the deadline Applications accepted. The Admissions Committee looks through all files and decides who the 2nd Part of the
Admissions process is invited. Shipping decision after Mappenjurierung (by email or post): 15.04.2013 (Phone no information is issued)
Second Part: interview
In a personal interview with the admissions committee, we take you submitted the By dossier again.
Period (Please keep appointments available. Invitations are very short.) 22.04. – 03.05.2013
Talk time: 45 minutes
Admission decision Shipping (by post): 08.05.2013 (Phone no information is issued)
What should my portfolio include?
The portfolio should give the examination board an overview over your creative profile, your knowledge and skills, as well as your main focus of interest. In other words, work should be included which on the one hand documents your personal preferences and on the other hand the wide range of your work and your work process (work from your Bachelor’s program, assignments and editorial work, sketchbooks or sketchbook-extracts).
Language course in German for foreign is included

http://www.hslu.ch/design-kunst/d-ausbildung/d-master-design/d-master-design-animation.htm

http://www.master-design-luzern.ch/info/?lang=en
http://english.hslu.ch/welcome/h-language_center/h-language-faqs.htm

Filmakademie Baden-Wuerttemberg :

Institute of Animation, Visual Effects and Digital Postproduction

need internship experience in film industry for 12 months, can apply as second MA
http://www.filmakademie.de/en/studies/general-information/application/

http://www.filmakademie.de/en/about-us/institute-of-animation-visual-effects-and-digital-postproduction/#c777

Institute of Animation, (under Filmakademie)

Visual Effects and Digital Postproduction at the Film Academy Baden-Wuerttemberg

http://www.animationsinstitut.de/studium/struktur-und-inhalte.html

http://www.animationsinstitut.de/fileadmin/public_docs/ai/pdf/Formulare/Application_TD_english_.pdf
http://www.animationsinstitut.de/studium/faq/faq-english-version.html

England

http://www.guardian.co.uk/education/table/2012/may/22/university-guide-art-design?fb=native

Financial preparation

http://www.bcu.ac.uk/international/discover-bcu/fees-finance-scholarships/financial-preparation

Goldsmith (University of London) : MA in Art Psychotherapy  : £15,o00 per year

http://www.gold.ac.uk/pg/ma-art-psychotherapy/

http://www.gold.ac.uk/international/financial-info/

Entrance requirements:
You should have: an undergraduate degree of at least second class standard in visual arts, or a degree in an allied area, or a professional qualification; a portfolio of art work showing evidence of a longstanding commitment to your own art practice; experience of work in health, social services or education (equivalent to at least 1,500 hours); experience of personal therapy (ideally).Your application will only be considered if it includes detailed information about your relevant work experience to show that you have at least 1,500 hours’ experience. Your art portfolio should be uploaded electronically as part of your main application.English Language Proficiency: If English is not your first language, all successful applicants to this programme must achieve IELTS 7.0, to include a score of no lower than 6.5 in all four parts of the test. Find out more about ourEnglish Language requirements.
Funding:
Full-time students can apply for the Corinne Burton Memorial Studentship.

Wimbledon College of Art  (ual) : BA (Hons) Theatre and Screen – Technical Arts & Special Effects : £13,800 per year

http://www.wimbledon.arts.ac.uk/courses/courses-by-level/undergraduate-theatre/ba-technical-arts-and-special-effects/

http://www.wimbledon.arts.ac.uk/courses/studyabroad/feesanddates/

MA Animation, RCA International Fee : Tuition fees for 2013/14: £26,900 per year (1,080,800 THB /1,086,615 Ruble) / living expense : expensive***** [accommodation =]

http://www.rca.ac.uk/Default.aspx?ContentID=159415&GroupID=159410&CategoryID=36692&Contentwithinthissection&More=1
http://www.rca.ac.uk/Docs/1PS_Animation.pdf
http://www.rca.ac.uk/Default.aspx?ContentID=159759&CategoryID=36692
*
scholarship http://www.rca.ac.uk/Default.aspx?ContentID=159428&CategoryID=36692 and http://www.rca.ac.uk/Default.aspx?ContentID=161452&CategoryID=36767
สองปีรวมขั้นต่ำสองล้าน

Film/Animation/Video[UNDERGRADUATE: BFA] RISD 4years
http://www.risd.edu/Academics/Film_Animation_Video/Undergraduate/Overview/

ual : CSM > MA Character Animation

http://www.csm.arts.ac.uk/courses/ma-character-animation/

http://www.arts.ac.uk/fees-funding/funding/postgraduatestudents/mafunding/thecaspianartsfoundationscholarship/

 

Finland
Tuition fee : free/ living expense : expensive***** [accommodation =]

Production Design, MA or Scenography, BA/MA อาจจะต้องเรียน BA 3 ปีเพราะเราไม่น่าโดดไป MA ได้แบบไร้พื้นนะ?
http://www.aalto.fi/fi/studies//education/programme/elokuvataide_elokuva_tv_kasikirjoitus_master/
https://into.aalto.fi/download/attachments/5127272/taik_studyguide_film_web.pdf?version=1&modificationDate=1312536694000

Prague
tuition fee : 210 000,- CZK per academic year (329,977 THB / 333,372 RUB)/ living expense : expensive***** [accommodation =]
Directing for Alternative and Puppet Theatre @Theatre Faculty of the Academy of Performing Arts(DAMU)
http://www.damu.cz/international/copy_of_ma-programmes-in-english/directing-for-alternative-and-puppet-theatre
MA Programmes in English
http://www.damu.cz/international/copy_of_ma-programmes-in-english

Califonia
CalArt Experimental Animation 

tution fee : $39,976 ปีละล้านเว้ยยยยยยยยยยย
Preferred Deadline – November 1
http://filmvideo.calarts.edu/programs/experimental-animation

http://calarts.edu/admissions/applicants/international
http://calarts.edu/admissions/apply/deadlines

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Animated Film festival

http://www.animation-festivals.com/animation-festivals-2013/

Stuttgart Festival of Animated Film (ITFS)
http://www.itfs.de/en/

http://www.itfs.de/en/home/competitions/categories/

https://www.facebook.com/animatorfestival

 http://www.annecy.org/news:a408

Ottawa International Animation Festival

The London International Animation Festival

Melbourne International Animation Festival 17-24 June 2012

Holland Animation Film Festival (HAFF)

British Animation Awards (BAA!)

Animafest – Svjetski festival animiranog filma

Cannes Winners – Watch Cannes Animations on FILMS short

www.stokeyourfires.co.uk

http://www.hiroanim.org/

12th International Festival of Animated Films

China International Cartoon and Animation Festival (CICAF)

ADAA : ASIA DIGITAL ART AWARD

http://www.suzdalfest.ru/index.php?id=1

http://tribecafilm.com/online/competitions

Festival international du film d’animation d’Annecy

The Citrus Cel Animation Film Festiva

Northwest Animation Festival

SIGGRAPH’s Computer Animation Festival