Alla Gadassik

Still Moving is one of three short films produced as part of my joint Master’s degree at York University / Ryerson University. During my graduate studies I was especially interested in experimental animation, including how different hand-made animation processes foster different relationships between a filmmaker’s body and filmmaking technology. This particular film was sparked by Oskar Fischinger’s wax experiments (1921-1926), which were produced by slicing through pillars of multicoloured wax (using a kind of custom guillotine) and photographing the slices one at a time [decades later a variation on this method would be known as “stratacut animation”).

City Body was one of three short films produced as part of my joint Master’s degree at York University and Ryerson University. During my graduate studies I was especially interested in experimental animation, particularly “direct animation,” in which the image is produced directly on a film celluloid strip by scratching, painting, manipulating light and otherwise using the celluloid as a direct canvas. The direct animation experiments of Norman McLaren, Len Lye, and Harry Smith were very important to me. Why did their films affect me in a certain way, and to what extent did specific materials (celluloid film projection) or specific filmmaking gestures (hand-drawing and scratching) play a role in their sensory and rhythmic effects?