Animation Shorts: Feel The Beat Ages 12+

4.30PM Mon 25 Apr 2022 (29mins)
GOMA | Cinema A | Free

SYNOPSIS

This strand contains flashing images.

Animal Beatbox 2011 dir. Damon Gameau (2:37 mins)

"Short film using stop-start animation, with cut outs of animals and their names repeated to a beat." National Film and Sound Archive, Canberra

Hello 2003 dir. Jonathan Nix (7 mins)

"This gently funny short is a take on the classic 'boy wants girl’ love story, set in a fantastical world where all the characters have music players for heads. A boy with an analog tape recorder for a head, is a shy and awkward romantic. The object of his desire has a more up-to-date digital device (a portable CD player). The metaphor extends when the boy seeks advice from a wise old man, whose head is a gramophone." Australian Screen

Easy Way Out 2012 dir. Oh Yeah Wow (3:57 mins)

Video clip for Gotye’s ‘Easy Way Out’

Rippled 2012 dir. Oh Yeah Wow (3:16 mins)

"A wonderful light painting collaboration between Darcy Prendergast and the creative team at Oh Yeah Wow with the beautiful music of All India Radio. Over 6 months in the making and painstakingly animated frame by frame, the piece is all shot in camera using long exposure techniques." Oz Animate

Autumn Story 2009 dir. Lucinda Schreiber (3:29 mins)

"Chalk animated music video for Firekites ‘Autumn Story’" Lucinda Schreiber

Tiger Yaltangki 2016 dir. Tiger Yaltangki (3:27 mins)

"Showcase of the bold and irreverent artistic practice of Yankunytjatjara artist Tiger Yaltangki, from Iwantja Art, Indulkana Community, APY Lands, SA. The video combines animation and live action in a chaotic celebration of Yaltangki’s love of rock n roll music, science fiction films and his home community of Indulkana." Tiger Yaltangki

Apple of Iron 2008 dir. Rachel Walls  (2:55 mins)

"Apple of Iron was created as an output central to my Master of Animation thesis. It seeks to do what many scholars in animation studies were exploring at the time – revisiting and revising the definitions of what animation is, or how it could be described. This need for new definitions bubbled up in response to the proliferation of digital animation and visual effects in entertainment. As technologies became more accessible and routinely used, they began to take up more and more of the animation world. The traditional taxonomical boundaries of ‘cartoons’ or other older ideas of ‘animation’ clearly were not adequate for modern scholarship, and scholarship in animation was therefore out of step with the media it sought to discuss.

Apple of Iron sought to question the view taken by some academics that somehow computer based animation was ‘lesser’ or illegitimate as an animation form by virtue of its reliance on external labour in the form of computer processing. Rather than identifying a posthuman production mode, there was intent to disavow and cleft away the enormous industry in animation, visual effects, gaming, and experiential / installation art that was indeed populated by animators. As a response to this, I sought in Apple of Iron to not only explore the qualities of animation, but production techniques that were both highly analogue and labour intensive such as direct film animation (where you make images directly on film with a scalpel), oil paint on glass, and collage with the cheapest and least labour intensive, such as applying filters to video frames as a batch process, so that the computer literally did all the work, or printing video frames with a broken printer so the registration was lost and the images mutilated. In many instances these techniques were combined, over and over again, creating images where there was little way to understand how each frame was made, and how much was labour intensive, and how much was not. By doing so I created a new labour of compositing, and as well of editing, to challenge the ideas of whether decisions frame-by-frame in animation need to be created or merely assembled. The film is a proof of that concept, and a rebuttal to the notions of some animation forms being invalid." Rachel Walls

Congregation 2021 dir. Nick Simpson (2:56 mins)

"The club offers up to you." Screen Australia

CREDITS

Animal Beatbox 2011

DIGITAL, STOP MOTION ANIMATION, COLOUR, STEREO, 2:37 MINUTES, AUSTRALIA, ENGLISH / DIRECTOR/SCRIPT/ANIMATOR/MUSIC: DAMON GAMEAU / PRINT SOURCE: NATIONAL FILM AND SOUND ARCHIVE, CANBERRA / RIGHTS: TROPFEST / SCREENING FORMAT: DCP

Hello 2003

DIGITAL, 2D COMPUTER ANIMATION, COLOUR, STEREO, 7 MINUTES, AUSTRALIA, ENGLISH / DIRECTOR/SCRIPT/ANIMATOR/MUSIC: JONATHAN NIX / PRINT SOURCE/RIGHTS: JONATHAN NIX / SCREENING FORMAT: DCP

Easy Way Out 2012

DIGITAL, STOP MOTION (PLASTICINE AND PHOTOGRAPHIC) ANIMATION, COLOUR, STEREO, 3:57 MINUTES, AUSTRALIA, ENGLISH / DIRECTOR: DARCY PRENDERGAST / LEAD ANIMATORS: DARCY PRENDERGAST, SEAMUS SPILSBURY / MUSIC: GOTYE / PRINT SOURCE: OH YEAH WOW / RIGHTS: GOTYE / SCREENING FORMAT: DCP

Rippled 2012

DIGITAL, STOP MOTION (LIGHT) ANIMATION, COLOUR, STEREO, 3:16 MINUTES, AUSTRALIA, ENGLISH / DIRECTOR: DARCY PRENDERGAST / ANIMATORS: JOSH THOMAS, MICHAEL GREANEY, JOSH O’KEEFE, DONNA YEATMAN, DARCY PRENDERGAST, SEAMUS SPILSBURY, ANDREW ONORATO / MUSIC: ALL INDIA RADIO / PRINT SOURCE: OH YEAH WOW / RIGHTS: ALL INDIA RADIO / SCREENING FORMAT: DCP

Autumn Story 2009

DIGITAL, STOP MOTION (CHALK) ANIMATION, COLOUR, STEREO, 3:29 MINUTES, AUSTRALIA, ENGLISH / DIRECTORS ANIMATORS: LUCINDA SCHREIBER, YANNI KRONENBERG / MUSIC: FIREKITES / PRINT SOURCE/RIGHTS: LUCINDA SCHREIBER / SCREENING FORMAT: DCP

Tiger Yaltangki 2016

DIGITAL, HAND-PAINTED, 2D COMPUTER ANIMATION AND LIVE ACTION, COLOUR, STEREO, 3:27 MINUTES, AUSTRALIA, NO DIALOGUE / DIRECTOR: TIGER YALTANGKI / PRODUCER: IWANTJA ARTS / ANIMATOR: JACKSON LEE / MUSIC: IWANTJA BAND / PRINT SOURCE/RIGHTS: IWANTJA ARTS / SCREENING FORMAT: DCP / SCREENING FORMAT: DCP

Apple of Iron 2008

DIGITAL, 2D COMPUTER AND TRADITIONAL FILM ANIMATION, COLOUR, STEREO, 2:55 MINUTES, AUSTRALIA, ENGLISH / DIRECTOR/PRODUCER/SCRIPT/ANIMATOR: RACHEL WALLS / MUSIC: DEFEKTRO NOISE ARMY / PRINT SOURCE/RIGHTS: RACHEL WALLS / SCREENING FORMAT: DCP

Congregation 2021

DIGITAL, 2D COMPUTER ANIMATION, COLOUR, STEREO, 2:56 MINUTES, AUSTRALIA, ENGLISH / DIRECTOR/SCRIPT/ANIMATOR: NICK SIMPSON / MUSIC: GRIFFIN JAMES / PRINT SOURCE/RIGHTS: NICK SIMPSON / SCREENING FORMAT: DCP