Trenino

Conference “Animation and Italy”: original animations

The eight animation, realized with different animation techniques, are the final result of the 2014 Animation Workshop.

The students who created the animations:

Giuseppe Andreatta; Barbara Bittante; Leonardo Bortoli; Giulia Casarotto; Giuseppe Nicola Cosentino; Marta De Giglio; Rita Fantinato; Carolina Fernandez Barroso; Luigi Giacomazzi; Alessia Ghion; Eleonora Giavarina; Sarah Jessica Fioretto; Laura Novello; Francesca Silvestri; Martina Turra; Valeria Venturelli; Fabiano Verza;

(intern, Elena Faggioli)

FLIPBOOK (pixillation, drawing, white board markers, découpage):

TRAIN (pixillation, claymation, découpage):

LITTLE MAN (drawing, white board markers, pixillation, découpage, claymation):

PIX (pixillation):

JACK (drawing, stop-motion):

CUBE (drawing, pixillation, découpage):

FISHERMAN (drawing, stop-motion, white board markers, sand, découpage):

HANDS (drawing, pixillation, découpage):

 

 

r-williams-sneak-5

The Animation Workshop of the DAMS at the University of Padua

The DAMS Bachelor’s Degree course of the University of Padua offers every year to its students an Animation Workshop, with the support of the cultural association “Immagine per Immagine”.

The Workshop teaches the basic techniques of animation, through a theoretical and practical program. Lessons and tutorials focus on traditional animation and its related topics, such as the illusion of movement; storyboarding; layout and shooting; the animator’s tools; techniques based on drawings, claymation, pixillation, découpage, sand and white board markers. Each student can create a personal project.

 The participation in the Workshop grants 3 CFU; the 15 participants are pre-selected through a motivational interview.

 The course lasts three months, with 30 hours of lesson at the Association main office, 45 hours of homework and a final test. Participants will be provided with animation tools and materials.

 In 2014-15, the students created 9 animated intros for the Conference “Animation and Italy”.

 The course is taught by Prof. Raffaele Luponio, President of the Association; the referee for the DAMS course is Prof. Farah Polato.

Venezia 71

The animation studies project of the University of Padova and the Cinit at Venezia 71

A presentation of the joint projects on Animation Studies of the University of Padua and the Cinit-CIneforum Italiano will be held at the Regione Veneto Space in the Hotel Excelsior.

 On Friday, August the 29th, the Regione Veneto Space in the Hotel Excelsior of the Lido di Venezia will host a panel about research and teaching projects on animated films, promoted by the Department of Cultural Heritage of the University of Padova and by the Cinit- Cineforum Italiano, a national cultural association focusing on cinema.

 In particular, the event will present the proceedings of the conference “Animation and Italy: authors, theories and state of the art”, which took place on May 29-30, 2014 and was co-organized by the DAMS degree courses (Arts, Music and Entertainment) of the University of Padua, the Department of Cultural Heritage, the Cinit and the S.A.S. – Society for Animation Studies.

The new website “Animata – Information and Research Network on Animation” will debut during the panel. It is a collection of scholarly resources (such as papers, bibliographies and announcements of events) which will be collectively managed by animation scholars, in order to guarantee reliability and quality of the contents.

 Such initiatives are part of innovative research efforts that the Department of Cultural Heritage is undertaking in the field of animation; as a part of the same project, an English-laguage course of History of Animation will start in October, 2014, for the students of the Master’s Degree in Theory of Entertainment and Multimedia Production (Scienze dello Spettacolo e della Produzione Multimediale).

 The project has been supported by the efforts of Giovanna Valenzano, Director of the Department of Cultural Heritage; Rosamaria Salvatore, President of the DAMS Master’s and Bachelor’s degree courses; Alberto Zotti Minici, Associate Professor of History of Cinema and Photography; Marco Bellano, Adjunct Professor of History of Animation; Massimo Caminiti, President of the Cinit; Marco Vanelli, Editor in chief of the cinema journal “Cabiria”; Paolo Kirschner, webmaster and designer of “Animata”.

Marco Vanelli, Alberto Zotti Minici, Marco Bellano and Paolo Kirschner will participate in the panel.

For the first time in Italy, the Conference in Padua offered to Italian animation scholars an opportunity to meet and share knowledge, using Italian animation as a springboard for discussion. “Cabiria” no. 177 hosts the special insert “Laboratorio: l’Italia animata. I precursori”, which publishes four conference papers focusing on the beginnings of Italian animation: “C’era una volta l’animazione italiana”, by Carlo Montanaro; “Un’italiana a Parigi: Leontina ‘Mimma’ Indelli”, by Giannalberto Bendazzi; “Burattini animati. Le avventure di Pinocchio nel cinema animato italiano”, by Anna Antonini and Chiara Tognolotti; “Sogni di bimbo a passo uno. L’animazione nel film muto italiano di propaganda bellica (1915-1917)”, by Denis Lotti. The upcoming issue no. 178 of “Cabiria” will host more conference proceedings.

 

 

Porco

Paper: From Albums to Images. Studio Ghibli’s Image Albums and their impact on audiovisual strategies, by Marco Bellano

Originally published in “TRANS-Revista Transcultural de Música/Transcultural Music Review”, n. 16, 2012 (http://www.sibetrans.com/trans/)

Link: http://www.sibetrans.com/trans/pdf/trans16/trans_16_01.pdf

Language: English

Abstract

Japanese composers for animation are usually asked to write preliminary music based on concept art and pre-production materials. This music is released in CDs called image albums. The existence of image albums influences the creation of film music, as the composer is required to restrain inspiration within the boundaries of the preliminary music, written without concern for audiovisual relationships. Because of that, music in Japanese animation usually works as generic commentary to the moving images, without detailed forms of interaction. Studio Ghibli composers, however, have found ways to define more complex audiovisual functions by using processes of new orchestration and variation.

 Download From Albums to Images