Showing posts with label ART. Show all posts
Showing posts with label ART. Show all posts

Oms and other Fantastic Creatures in René Laloux's Fantastic Planet (1973)

I have this strange attraction to weird cinema.

René Laloux's Fantastic Planet (1973) is  a different kind of experience. It feels like cut-out from H.P. Lovecraft's stories. It treats absurdity as the new norm. Perhaps, strangely, the gravity of art in René Laloux's film may be too demanding for ordinary cinephiles, but its use of anthropomorphic imagery to represent different creatures makes it a familiar film. One can compare it to several post-apocalyptic films where worlds are invaded by aliens of higher intelligence. The Oms (the humans) were treated as slaves and pets by Draags (the aliens) which set them to become rebels --- a racial issue.



Laloux's world is filled with magical and uncanny elements. Draags are giants and are attune to meditation by achieving a spiritual connection with the cosmos. Oms are much smaller, about the size of the thumb of Draags but are irritable and biting. The Draag communities are, of course, real world counterparts of the evolved communities which has level of intelligence  (let us say scientific intelligence) far superior than less developed communities. 


In a Draag's world, there is no snow but there are crystal storms which can turn any living non-Draag creature into crystals unless the creature knows how to whistle.

Ohm's mass extermination via a heavy, toxic gas is largely due to Draag's immediate response to the Ohm's extremely large and increasing population. Ohm's ratio to the population versus a Draag is that of the ants' population to the humans. The gas can kill Ohms instantly like how insect spray can kill thousands of ants. 


Ohms are used as hunting 'dogs' chained by their master Draags to look for other Ohms.



Laloux's creatures are filled with uncanny spirit. This one looks like an elephant with nine protruding nostrils.


This elephant creatures eat a "fly"-looking creature with certain mimicry to Frill-necked lizards in Australia but fatter.


Gigantic creatures, relative to the Ohms, have at least four legs and an elongated body. But this one, it has more than five eyes on top. Its morphology is quite unique.


Other than gigantic creatures, Ohms too have creature the size of their body.  This creature on top are used for Ohm to Ohm battle.


As with this one above, they are used to create Ohm's clothes. They are perhaps the most harmless of all fantastic creatures in Fantastic Planet. 


Creatures can also fill large voids of land as with this long and winding worm-like creature.


 Ohm's most notorious antagonist is a creature with wings that of a bat. It has four legs and long tongue to suck Ohms our of their borrows. Though their viciousness can be equal to that of the Draags, its aim is only predatory and not exploitative. Hence, this creature is innocent. 

Laloux's creatures shows us another version of human life, and that is by using uncanny figures to elicit unworldliness. This uncanny mechanism has long been used in experimental and animated films. It shows us strangely familiar figures functioning differently, absurdly.

Ciao!
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Unknown Pleasures (2002)

the youth of China...


Truths.


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"The monopoly bourgeoisie has used information technology and other new technologies to raise productivity and to accelerate profit making and capital accumulation by reducing the wages paid to the working class. It has also used the more efficient forms of transport and communications to accelerate the commerce in goods and services and to spread the ideology and propaganda of monopoly capitalism, usually packaged in petty-bourgeois language." ---- from Further strengthen the Party to advance the people's war [link]



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Ciao!
*****

Theodore Ushev/Constructivism

... who says animation is all about Disney and Ghibli...


Drux Flux (2008)


Tower Bawher (2006)

Ciao!
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Brilliant Minds...

... for without them, our lives would be simply benign...

Jacques Derrida - Deconstruction

Jean-Paul Sartre - Humanism/Bad Faith

Simone de Beauvoir - Continental Feminism

Paul Ricoeur - Hermeneutics

Terence Tao - Prime Numbers

Brian Greene - String Theory/Theory of Everything

Pablo Picasso - Modern Art

D. W. Griffith - Modern Cinema

James Joyce - Stream of Consciousness

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.
etc.

A cup of coffee! Sip in! Enjoy guys!

Ciao!
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HOW I LOVE MY TUESDAY MORNING!

digging...

[images from village-oblivia]





Fuck yeah!

I had another obsessional-digging at Village-Oblivia fishin' for ideas for the brochure for the much awaited National Science Club Month 2009 of PSYSC. I love, love, love John Dahner's blogspot blog primarily because it houses a large array of modern graphic design inspirations featuring magazine layouts, brochures, pamphlets, posters, displays, and also calling card art-madness. John Dahner also has a photoblog accessible to everyone here so click away. Anyway, i still have to make a lot of adjustments in the counters and border icons for the brochure. Ciao for now! More on 1895 -1923 films and some critical posts on Received Wisdom: Three Reception Studies by Tomas Kemper maybe after Thursday. May God help me through this unabashed waters!


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Night night everyone! Krook... Kroook.... No more shitty Chemistry dreams please lang!

[image here]
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THE BRILLANTE MENDOZA POST

something to learn from

[photo from village oblivia]





I received the news via a cable TV at home on a certain french Channel and also from the tidbits of CNN and BBC. It took hours before it reached ANC and the late night news shows on major local channels. I knew it was something different and i got the feeling that some sort of political phenomenon was going on. I made quick notes though i could memorize it in my head instantly:

Brillante Mendoza. Wins Prix de la Mise en Scene. Best. Director.
Cannes. Should blog this! 62nd. Beat Tarantino. Ang Lee. Campion. Haneke.
Who won the Palme d'Or?

A few hours later i got a telecast from ANC late night shows and added to my notes:

Michael Haneke. The White Ribbon. Palme d'Or. I Knew it!

A few days later i knew that people will abhor Mendoza for his film Kinatay. Ebert achieved the greatest possible exposure by killing it over his blog and declared it as the "worst film in Cannes' history."

Sometimes it's just a pain to dwell on this issue right away. One reason is that, Roger Ebert wins all the time because he is "the most influential film critic in the world." Another reason is that I, and maybe 99% of the Filipino audience, haven't seen the film.

I figure, i need an overnight sleep to refresh my mind and start anew. After reading Ebert's 'butchery' here, and also Noel Vera's counter-'Ebert' post here and an response-to-Ebert's-post post from Michael Mirasol here, i came to a naive conclusion (might be derive from a simplistic logic i had when i was high schooler): people have a tendency to overreact over things that does not seemed to matter because it happened a long time ago. Of course, some of you might judge me as a purely hypocritical, simplistic, even irrational and derogatory but i say to you (I quote from ULYSSES): "HISTORY IS NIGHTMARE FROM WHICH I AM TRYING TO AWAKE."

The volume of comments on Ebert post from Filipino readers reminds me of a shoal of fish swimming in circles and when a big fish approach to prey, they disrupt from their cylindrical formation. They have a tendency to crumble from their arguments when one big 'fish' disrupts them and prey on them. But this is a natural phenomena by nature. It seems that the big fish comes in the form of Mendoza who achieves a complete disruption of the equilibrium these people used to have. Now, they are appalled even faulted at the thought that a Filipino 'predator' manage to create such a massive atrocity which ironically launched Mendoza's stature to unbelievable heights of publicity (maybe in the web --- of course Hayden Kho is central to our lives today) and a first time this happened in Philippine cinema.

But i smell of a bigger fish at bay, he lurks behind Mendoza, Ebert, and the sad Filipino commentators of Ebert's post: this is the fish that crumbled most civilizations in history and even change the heart of Medieval age: DOGMATISM. To rely on certain dogmas is to forge hell in front of them, a cause of human degradation and the advent of puritanism. Dogma.

Dogmatism is not a philosophical concept because it is sick to treat it as a systematic conceptual framework of thoughts and idea. One famous dogma of science during 1500s tortured the thoughts of Galileo Galilei for formulating that the moon has craters and by postulating the all bodies fall at the same rate when drop at the same height. The Medieval church says it heresy. God forgive them.

What faces us here, and i am not pointing to Ebert's assertion or some comments from his readers or anyone else, is a historical question and also a question to ask oneself: Is it heresey for Mendoza to create a film that disturbs some people to their primal senses? We might think it is fault but let the magic time unfold and maybe after two hundred years Kinatay might be considered as the prerequisite to a portion of one's history, if not in cinema, that has evolved to its maturity. We might not know but we have to note, if not to avoid, the dogmatism attached to the issue, that this dogmatism by historical standards is invalid at the time we uttered the words: it is the worst film of all, do not watch it my friends. It's demonic. It's purely evil.

Such mentality is least appreciated in film criticism and even in art criticism. Theorist of literature have proved that works from the 1800s have been historical variable and for each generation, one may see it the other way around. To put Kinatay, or other 'ultra-anti-audience films' like Pasolini's infamous Salo (1975), in history is to treat it with respect, as much as people disrespect it.

Human beings have evolve surely. TO subscribe to this fruitless dogmatism and to avoid the variability of art reception to history is to be medieval. We are in the twenty-first century where the very fabric of every human thought and the whole of the universe is a series of QUESTIONABLE and FALSIFIABLE CONCEPT. Even our existence is a questionable concept.

Did i subscribe to dogmatism in writing this post? YES, I did.

I am a medieval person.

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81st ACADEMY ANIMATED SHORTS

a commentary




So let's get back to business shall we?

Academy! Academy! Academy! It does not matter how many repetitions you can make from the word. But i can only say that it is COMING! So with a cup of coffee and a jar of oatmeal cookies (dig into mine if you don't have anything to eat) let's look at the five nominees for BEST SHORT FILM (ANIMATED). Are you excited as hell? You better be!

Let's jump right in to number...




1
THIS WAY UP - Alan Smith and Adam Foulkes




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Comments:


I'm not really into Tim Burton type but this short film is hilarious, I am greatly fascinated how it ironically combines the dread of the cemetery and the humor of laying the dead. It has never been this fun and whimsical. In Smith and Foulkes films, i find something beautifully grim and dark. There is this auteuristic atmosphere quite recognizable in their shorts. In their The Boy who didn't Stop, Look, and Listen, the figures look like mannequin dolls representing an image of a child, which is quite odd to some extent, but effective in a way to establish a connection to it's intended audience.

AWARDS:

40th Bolzano ShortFilmFestival, 2008
No Words: Mention

11th Tallinn Black Nights Film Festival + Animated Dreams, Sleepwalkers, Just Film, 2008
Best Humour

6th London Short Film Festival, 2009
Comedy Award




2
PRESTO - Doug Sweetland



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Comments:


A Pixar animated film, and the only Pixar who made it to the nominated list, about a magician and his rabbit and their hilarious battle of wits on a carrot. I love this film. It's a Disney, and a Doug Sweetland film! This is Doug's first time to direct an animated film, he is a veteran animator of Pixar Animation Studios who brought us Toy Story (1995), A Bug's Life (1998), Toy Story 2 (1999), Monsters, Inc. (2001), Finding Nemo (2003), Boundin' (2003), The Incredibles (2004), Cars (2006).

AWARDS: None (is this really necessary?)





3
OKTAPODI - Emud Mokhberi and Thierry Marchand



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Comments:

Love between octopuses is not much of a common thing which is why this short animated film is so luring and interesting. I do not want to exaggerate my words to describe how funny the film is, but i really have to, forgive me. I want to shout with a gushing mouth: GOSH! I LAVET! I LOVE OCTOPUSES! which is kind of weird albeit the presence of my sleeping roommate and the stillness of the dorm on a Monday afternoon. How affectionate those octopuses 'octopusize' my fascination to octopuses is another story. It's so hilarious and definitely a good time to spend a three-minute or so of your time. I just love it!

AWARDS

12th Hiroshima International Animation Festival, 2008
Special International Jury Prize

Anim'est International Animation Festival, 2008
Special Mention for Student Film





4
LAVATORY - LOVESTORY - Konstantin Bronzit



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Comments:

The film won my heart. Hands down for the Russian animator, Konstantin Bronzit. It is a passionate story of a lavatory attendant who was feeling lonely when an admirer left a bunch of flowers by her tip jar. It is about love. I might not have been pleased with sentimentality on live-action feautures, but on the animated level, it's inevitable to give in. I like it when Bronzit highlights the flowers in colored form, a dash of expressionism which i find so poetic. It is a beautiful short film.

Award:

14th Krok: International Animated Film Festival, 2007
Diploma - 5 to 10 minutes


Aspen Shortsfest, 2008
Animated Eye Award

12th Hiroshima International Animation Festival, 2008
Special Prize

Taipei Golden Horse Film Festival, 2008
Grand Prize

17th St Louis International Film Festival, 2008
Best Animated Short Film



Silver Feather for Auditoire







5
La Maison en Petits Cubes
(House of Small Cubes)
- Kunio Kato




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Comments:

It's beautiful. It's rendered using watercolor on paper as medium. Kunio Kato's first nomination for Oscars but this is just an understatement of Kato's brilliance. He's method of animation is elusive. I cannot think of any poetic animator as him. In his Fantasy Story(2003), viewable in Youtube, I was amazed by how he manage to transform animation into something substantial to the level of art. According to its Academy Profile, "in a world gradually flooding with water, an old man adapts to changing circumstances and looks back on his life." I pick this because of it's depth and poetic language, and like other Kato's animated shorts, it tempts me to reconstruct my own interpretation of animation. I do have in mind the eclecticism of animated films, but animators like Kato, or on a feature level, Miyaki, want to establish a more legitimate position of animation on the rank of film perceptible for theoretical and semiotic interpretation than most other film animators.


Awards: (from Short Film Central Profile)


4th AnimaBasauri: Basauri-Bizkaia International Animation Festival, 2008
Best Short Film - Jury Prize - Karratu Section

32nd Annecy International Animation Film Festival, 2008
Junior Jury Award
The Annecy Cristal

18th Message to Man International Film Festival, 2008
Best Animated Film


16th Anima Mundi, 2008
Best Script - Jury Award

12th Hiroshima International Animation Festival, 2008
Hiroshima Prize
Audience Prize

12th LA Shorts Fest, 2008
Best Animation

2nd International Animation Festival ANIMANIMA, 2008
Grand Prize
Special Jury Distinction for Best Directing


32nd Cinanima: International Animated Film Festival, 2008
Grand Prize
Onda Curta Prize
Alves Costa Prize



Golden Feather for Auditoire





WEB LINKS and Additional comments:

Oscar's List of Nominees for Animated Shorts

Kunio Kato's Website - He is an observable watercolor artist. I admire his homepage picture.

House of the Small Cubes Short Film Central Profile - The film won numerous awards for animation in international festivals and critics circle.

Lavatory Love Story Short Film Central Profile - The film was made possible by Melnitsa Animation Studio, produced Alexander Boyarsky and Sergey Selyakov.

This Way Up Short Film Central Profile - It was screened last January 15 to January 25 on Sundance Film Festival 2009

Oktapodi Short Film Central Profile



WRAP UP


As a wrap up, I ask you, did you enjoy this new post? I hope you enjoyed it. I also included two distinguishable awards for my top 2 films: Silver Feather and Golden Feather. It's a mock for the Cannes' Golden Palm or Berlins' Silver and Golden Bear. Don't take it seriously, it's just for fun. If somebody asks what a Golden Feather is, it's a badge for my blog's recognition to remarkable and outstanding films.


HOMAGE TO ART(2008)

a strong commentary on what is art



You would notice that my dormroom door has sign on it. It says:


Let this signage be named as Homage to Art(2008)
made by Adrian Mendizabal as a protest


Well, frankly, i don't want to put it in the most blatant sense, but this is a protest. A protest for what? OKAY! here is Adrian again nagging about culture and art without doing anything for the betterment of the world at large. So why a protest?

This is speaking not just as a cinephile but an art hell-raiser. Art is something you don't speak in an absolute sense. When one talks about art one cannot reach a conclusion of a yes or a no, or an 'i agree' or a 'it sucks'. I want to make a protest by putting the URL and the name of my BLOG in front of my door so that if anyone, especially my dormates, sees it one must know the following things:

1) The sign denotes a blog, obviously. An art existing in a written form actualized in cyberspace.

2) It's made originally by the person inside the door. This is an attack to the authenticity of art nowadays. is there any authentic art? Has intertexuality defined my post-modernism consumed authentic feeling of art? The sign by door defines the idea of authenticity. It acts like a label that within this door lies the owner, but this owner can be split into two: it either denotes my roommate or me. So this brings us to another level.

3.) The sign is a label. I am particularly against stereotyping. I hate stereotypes. I put the sign in the door as label to insult those who like to put labels on arts works. When one 'boxes' a certain concept like poverty or lower class i.e. 'poor' people don't have the capacity to view what is good art and what is not. I like to insult them by putting a signage on door which labels the door and the owner of the sign.

4.) It has no color. I protest against the sentimentals! i find sentimentality a distraction for an artwork. And this is a protest against the sentimentality of mainstream Philippine cinema. I fin d unsentimental themes universal and more precise. There is a clear distinction between emotional and sentimental: 'emotional' attempts a universal idea while 'sentimental' plagiarizes it. it mimics the emotional to appeal to the audience in an erroneous and loose manner.

5.) It is printed using a computer printer and covered with a clear tape. It composed of almost nothing but text on a blank white paper cut with distinctive boundaries. With this i protest against the connoisseurship nowadays. I want to challenge them to accept this not as a signage on my dormroom but a piece of art. I made it to be it using my ADOBE photoshop CS2. It's authentic, it depicts an ideology, it has a form and a context. Fundamentally, it is an art. And it can exists that way. To connoisseurs it may look like a piece of trash, but this is not how i see it. It's an art work that defeats the purpose of "what is art in a conventional sense". In a simple sense, it's an art work against 'art'. It needs no quality definable by current trends on art because it uses simple materials like paper, ink, and clear tape. However, it cannot be repeated or reproduced, even by the same artist because it uses unique proportions of clear tape, angles of paper cut, and amount of ink embedded on it.


My protest is rather implicit. So if you are an Ipil resident who happened to spot on that signage it'll be grateful to treat it as an art piece in protest to the things that i mentioned above. I name it, "HOMAGE TO ART".

But perhaps this post isn't complete without any personal agenda to discuss.

I would like to share to you my notebook, shown below:




Of course, with the presence of the two five-peso coin, the meaning of this photo is bereft with connotations. One would think, is Adrian trying to say something about the economy or the crisis? No, dear friends, I am not. but in arts, one can say this and attempt to come up with grandiose explanations about the significant of the elements present in the artwork. I must claim that everyone must function as an aesthete once in his own life to be happy. An aesthete works well when he's in need of something beyond him. Immaterial reality, that is.

Look at the notebook. It's an art work. It has contents which springs back in my high school years. Look at it carefully. Can you see the inside? can you? of course you cannot. One cannot find the point, function, or essence of this notebook without looking inside. There, as soon as you turn the first page, you'll see something eventual. But i won't tell you what it is. It is up to you to decide whether to open the notebook or not. I ask you, is essence, for you, more important than the appearance of things, or otherwise? I ask another, are you happy?

Without a word, i praise CURT DUCASSE. His writings are inevitable. He made me cry.



I also suggest to look at this (see picture below):


Are you familiar with this piece of art? This art is new. This art is embeded on my phone by an artist. He must have recognized it's essence. He must have recognized that this piece of art is tantamount to PICASSO's Guernica (1937) because of it's sheer depth and tempting semiotics.



"Guernica" by Pablo Picasso (1937)

With this, all else shall unfolds. It will start with my Homage on Art(2008). This is because i have to lead this declining art culture into a revolution.