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Alla Gadassik

Film & Animation Scholar and Curator

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film

Fruit of All (2008), 2:20min

Fruit of All 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 connections or fissures between analog and digital animation. With this film, I explored my computer’s flatbed scanner as a digital “direct animation” device by scanning and rendering the flesh of fruit. The scanned images were paired with hand-drawn animation made using a digital drawing tablet. Making this film really transformed how I understand the concept of “indexicality,” which throughout the 20th century was often misleadingly used to separate photography from drawings, or live-action from animated cinema.

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Still Moving (2008), 2:50min

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”).

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City Body (2008), 4:30min

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? 

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Meryl Strip (2011), 6:30min

Meryl Strip a short film (gallery installation) exhibited at Brock Gallery in Evanston, Illinois. The film dissects the body of Meryl Streep in her cinematic incarnations, looking for traces of a single skeleton beneath the diverse landscape of her personas and narratives. Behind decades of comedies, dramas, and musicals, behind the film bodies of Jews, Italians, and Americans, I sought an always recurring and familiar set of gestures and movements that could only belong to Meryl.

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