A showcase of Paper Rad's individual and group creations in the form of Trash Talking, a show for kids with bizarre characters trying to find their place in the world.
A whirlwind of improvisation combines the images of animator Pierre Hébert with the avant-garde sound of techno whiz Bob Ostertag in this singular multimedia experience, a hybrid of live animation and performance art.
Between Science and Garbage
2004
5
Individual elements from a carrier of visual information have been isolated and used to construct alternative visual reagents. Repetition is administered as a binder to tame the wild particles in motion, achieving a golden ratio in the mind's eye.
Picture Particles
2014
8
Nocturna Artificialia
1979
5
In Prague, a professorial puppet, with metal pincers for hands and an open book for a hat, takes a boy as a pupil. First, the professor empties fluff and toys from the child's head, leaving him without the top of his head for most of the film. The professor then teaches the lad about illusions and perspectives, the pursuit of an object through exploring a bank of drawers, divining an object, and the migration of forms. The child then brings out a box with a tarantula in it: the professor puts his "hands" into the box and describes what he feels. The boy receives a final lesson about animation and film making; then the professor gives him a brain and his own open-book hat.
The Cabinet of Jan Švankmajer
1984
6
Stop-motion animated short film in which a puppet on a trike captures a puppet bird-man.
This Unnameable Little Broom
1985
6
A puppet, newly released from his strings, explores the sinister room in which he finds himself.
Street of Crocodiles
1986
6
Stop-motion animated short film in which, among other things, a man made of wire looks malevolent.
Rehearsals for Extinct Anatomies
1987
6
The Comb
1991
6
The Quays' interest in esoteric illusions finds its perfect realization in this fascinating animated lecture on the art of anamorphosis. This artistic technique, often used in the 16th- and 17th centuries, utilizes a method of visual distortion with which paintings, when viewed from different angles, mischievously revealed hidden symbols.
Anamorphosis
1993
6
Stop-motion animated short film with a white ball, a rabbit, and a girl, and a voice singing "Are We Still Married".
Stille Nacht II: Are We Still Married?
1992
6
Near an extraordinary chair with many legs, a hand is visible gripping an edge. The hand is weathered, the fingers cracked and scarred. The end of a rifle appears and a shot fires. The bullet is visible whirling through space; it caroms and then goes through a pine cone. A long spoon emerges from a drawer in the chair and stretches toward the hand. The bullet is on the spoon. Later, the hand holds the bullet between two fingers; another shot is fired.
Stille Nacht III: Tales from Vienna Woods
1993
6
Short animated film featuring the song "Can't Go Wrong Without You" by His Name Is Alive.
Stille Nacht IV: Can't Go Wrong Without You
1993
6
A woman sits alone on a chair at a table in a room on one of the top floors of an asylum. Bright spot lights dot the night, sometimes shining on her window. She sharpens pencils and writes on a page in a copy book. The pencil point often breaks under her fingers' force. She places broken points outside the window on the sill. A satanic figure is somewhere nearby, animated but of straw or clay, not flesh. She finishes her writing, tears the paper from the pad, folds it, places it in an envelope, and slips it through a slot. Is she writing to her husband? "Sweetheart, come." Written by
In Absentia
2000
6
With harpsichord music in the background, a dandy, seated at a table, plucks a quill pen from a ceiling full of them above him, dips it in ink, thinks, then draws a straight line down the page in front of him, out of which sprout six more quill pens, each held by a hand. The calligrapher moves all the hands and pens in unison, drawing an elaborate feathered wing, which comes to live, peeling off the page, and, now a quill pen, slips in to his hand. He tucks it behind his left ear.
The Calligrapher
1991
6
A display at the strange and wonderful artifacts in a collection of medical curiosities.
The Phantom Museum: Random Forays Into the Vaults of Sir Henry Wellcome's Medical Collection
2003
6
The Summit
1995
5
“When he shot Une seconde (4 min., 20 sec.), a video animation without computer graphics, Richard Angers tried to adapt Norman McLaren’s animation techniques to video shooting and editing. A long-term solitary task, in which images are moved by hand, centimetre by centimetre, in which one plays with the number of images per second, and in which the ± pure quest for effects is more important than the message”. BLANCHARD, Louise. “Les vidéastes sont au ‘rendez-vous’”, Le Journal de Montréal, Montreal (9 February 1992), p. 38.
1 Seconde
1991
0
In the beginning the idea was to make something from nothing, in a neutral and unknown place. Collect images and sounds instead of producing them. The camera, the microphone and the mini-amplifier: tools that take away and then give back. We defined a rule: the sound shouldn't illustrate the image and the image shouldn't absorb the sound. Less than a hundred kilometres from Reykjavik we found Strokkur. For three days we saw and heard the internal dynamics of the crevice: the boiling water that spat out every seven minutes and the thermal shock, given the eighteen degrees below zero of the atmosphere.
Strokkur
2011
4
Aggression, Schroeter’s first 16mm film, is the fictive portrait of a woman who is oppressed by her (unseen) boyfriend.
Aggressionen
1968
5
An actress of political torture movies made by her husband has to finish his latest film and arrange a screening for distributors while the husband, who is also secretly an anarchist revolutionary, is away for some resistance operation.
Gloria Mundi
1976
4