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| asifa.net/news |
| Actual up-date : 15th September 2003 | 13th October 2003 : Next up-date |
| The idea of ASIFA.NET |
Send the material you want to get publised!
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| Sad News: |
Good Bye to Jules Engel and Kelly O'Brien
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| News from ASIFA | |
| ASIFA General Assembly in Portugal... |
...in november 2003: New ASIFA Board
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| ASIFA's project: International ANIMATION DAY |
CALL FOR PARTICIPATION !!!
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| ASIFA against WAR - project |
Send your animation !!!
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| News from ASIFA Yugoslavia |
Animated feature is in production
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| Festival News | |
| ANNECY 2003 Festival Report |
written by Bruno Edera
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| Other Int. Animation Festivals |
Upcoming events and close entry deadlines
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| The idea of ASIFA.NET : Permanent Call for Papers |
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The concept of the ASIFA Website, and particularily of the news-section, is TO SERVE AS AN OPEN PLATFORM, for all ASIFA Groups and Offices, ASIFA members and friends of ASIFA. It means, that all are invited, to send the material, which they want to be published to the editor@asifa.net, and it will appear at the next up-date. The coming dates for 2003:
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| Sad News: We lost Jules Engel and Kelly O'Brien |
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JULES ENGEL
"Dear Friends, My heart is heavy with the news that Jules passed Sept.6 at 5:15 PM., at a Simi Valley Hospice. The end was peaceful and Jane Ann Dill was at his side as he slipped away. For all of us it is a great personal loss. Each of us meant so much to Jules and of course, he to us. We may be comforted that he's not suffering. Even up to the end, Jules was leaving an impression and spreading his special talent, love. One of the hospice care-givers was an animation student who felt so privileged to have Jules there! Thats our Jules!" Christine Panushka Jules had integrity. I am very lucky to know him as a teacher and a successful artist. It's very hard to find a real teacher with lots of experiences and he was the one. Atsuko Kubota
CG artist/animator
Los Angeles, CA
"Jules Engel's passing is a tremendous loss to our field. He was a teacher, friend and mentor to countless animation artists in the 35 years since he began the Cal Arts Program, and he's been a role model for all of us, as a courageous and perserving experimental animator. Right up into his nineties, Jules was still creating beautiful, complex work, inspiring young students and fighting for the ART of animation." David Ehrlich Jules was a very special artist. Jules had a great talent to discover and respect the originality of each animation filmmaker, and he supported and encouraged the young filmmakers ceaselessly and generously: something most essential for creative activities. His enthusiastic life will be remembered as a paragon of teacher, and his contribution will be taken over by many of his talented students. On the other hand, Jules himself was a great artist, who not only pursued the possibility of abstract animation expression, but also developed the position of animation art within various field of artistic expression. Personally, Jules' presence gave me much encouragement to my work of supporting the experimental & artistic animation. Renzo and I met Jules in 1984 in Los Angeles, and we asked him to attend the very first Hiroshima Festival in 1985 as a member of our Selection Committee. Jules kindly accepted our request, and our friendship started this way. Renzo and I were very much encouraged by the great artist who had the same enthusiasm toward art, and we deeply respected Jules as we keep our friendship for many years. Jules' spirit is respected in our Hiroshima Festival today, and it will be respected in future too. Sayoko Kinoshita
I encountered Jules Engel only 5 or 6 times, but each time was good. The first was when we did a show and tell together about 30 years ago in California. I was showing some award winning films made by children at the Yellow Ball Workshop, and Jules was showing his amazing abstract animation. The next time was in the early 70's when he was a judge at the New York International Animation Festival. We were lucky enough to win an award and be able to hang around in the halls and talk to Jules and Isabella Rosellini, two of the judges for the festival. After that, I remember recommending two of my Yellow Ball Workshop students. Deirdre Cowden and Amy Kravitz to Jules at Cal Art for his Experimental Animation Program. Both of these students had an overwhelming appreciation for his talents as a teacher, mentor, and friend. Later when I became Head of the Film/Video/ Animation program at RISD we began to send our RISD animation grads to Cal Art for his graduate animation program. Jules and I lived on opposite sides of the country so most of our encounters were on the phone. The last time I spoke to him was when Sheila Sofian, a RISD grad was going to Cal Arts on a scholarship and to arrange for him to come to RISD to make a presentation for our School. The following semester, when he came, I was away on Sabatical, but Amy Kravitz and her husband, Steve Subotnick, both Cal Art Grads, teaching at RISD were very pleased to present him to the school. His showing was a big hit. Jules has made a lasting impact on the world of animation in his own work and his encouragement of students to experiment with new techniques and ideas. It is a pleasure to have known him. Yvonne Andersen Professor Emeritus RISD Jules was my mentor when I was at Cal Arts from 1989-92. I think it was in my first year there that he put up two shows in the Cal Arts galleries that taught me a few important things. In one gallery, he suspended paper bags from the ceiling. These were large shopping bags one might get at high-end boutiques. He had collected them over a period of time and now hung them at varying levels throughout the space. By hanging them as he did he elevated their status from just paper bag to thoughtfully designed object. But he also created a wonderful spatial effect that reminded me of walking into a garden of large flowers, or wandering through a field of floating balloons. It was a whimsical, joyful experience so different from the serious and heavily theoretical artworks that were usually installed in and around the Main Gallery. 
For the other show Jules recruited all the Experimental Animation
students ( I think at that time there were nearly 60 of us) to produce
small sculptures. He had salvaged 12" x12" wooden tiles from the
Institute's Super Shop along with a variety of wood scrap. He gave one
square tile to each of us and told us to paint it black and then
construct a sculpture on it using whatever of the wood scraps we chose.
He also asked us to paint the wood scraps in bright colors. Jules
collected the finished works from us and then spent the better part of a
day tiling the floor of the gallery with them. I was amazed to walk into the gallery when he was done and see how he had integrated all his students' diverse responses to the same problem into an engaging study in abstraction that also allowed each tile a "presence" as he might have said, a place in the viewer's attention. In much of his artwork Jules used a similar playful approach to choreographing collections of shapes and colors in spaces in and beyond the film frame. In his teaching, Jules valued students as individuals and worked with us to elevate, in a way, each of our particular strengths as artists. But he also kept the larger picture in mind. So among the things I learned from Jules were these: to keep a spirit of play while working, to design simple structures that allow complexity to emerge, and in my teaching to go to where the student is and appreciate his or her individuality both on its own and as part of a larger pattern. Ruth Hayes Note: attached is a photo I took of Jules at lunch in one of his favorite restaurants La Scala Boutique. I think it was in summer, 1994. Many have touted Jules for always stressing the positive aspects of our work (as opposed to pointing out the negative). My Jules was a little different. I remember working on an assignment for the late great Ruth Kissane (Casey to those who loved her). Deep in my work, I hadn't noticed that Jules was watching over my shoulder. "Baby, what IS all this shit?" I explained to him that I was experimenting- after all I was in Experimental Animation. He said, "Baby, that will never work." The following week, after two viewings, Jules said, "Son of a bitch, it works!" He was first to admit he was wrong. And it is true; he referred to his students as artists or talents- except for me. I was extremely lucky to be accepted into the program at age 18. Jules arranged to have Bill Melendez come for a visit. I was so excited to meet him- A Charlie Brown Christmas cemented my love of animation. I came up to Jules in the hall outside the studio at Calarts where he and Mr. Melendez were talking. Jules said, "Bill, I want you to meet someone." Here it comes! Jules is going to call me 'the talent'- I was thrilled! "This is 'the Child'." Aaargh! I kept what became a term of endearment until I had a child of my own. It was just after I met Mr. Melendez that Jules and I had one of many heart-to-heart talks. He told me to make sure my name was incorporated into the name of my studio ("I'm going to have a studio, Jules?" the child asked in total disbelief) and he told me that someone should make a film about Don Quixote. At the time, I took it to mean that I should make a film about Quixote. I'm certain that I am not the only one he mentioned this to- there have been a few excellent film interpretations since. Last winter I had a chance to speak at length with Jules about the short film I'm working on- the prison scene from Man of la Mancha. He absolutely lit up as I explained how it was going to be animated and that my dad was going to sing for the film (Jules always asked about my dad, keeping track of his career). It took 15 years, but I'm finally doing it! A fantastic mentor, a brilliant artist, and a man with a wicked sense of humor- Jules, thank you for gracing us with your existence! Shayne Hood, mommy and filmmaker
Newhall, CA KELLY O'BRIEN "I first met Kelly O'Brien in 1980 at the Ottawa Animation festival, and then would meet her many times at festivals, ASIFA Board meetings and parties. She was always so vivacious and charming no matter what crisis was in the offing, and there were many. It's strange to think of this woman, always so full of life, as no more. But her festival has survived and prospered because of her dedication in its early years, and we all owe her a debt of gratitude." David Ehrlich "Somewhere there is a saying, 'The loss of one of these is a loss to us all.' Whilst it is broad, it is often too true. Kelly O'Brien was our cheerleader for animation. She was part of the team responsible for the beginnings of our precious Canadian International Animation Festival. There was no endeavor she would refuse: chasing down good films that would make Ottawa's festival outstanding in the world. She knew how to cajole animators into attending this event. She had the tickets and outstanding hospitality. Animation was her love and her life's work. She will be missed and not forgotten by those of us lucky enough to have known her." Prescott Wright Kelly was really a great lady. As you may know, she served on the ASIFA Board for many years, and she was the founder of the OTTAWA Festival, and worked as the Festival Director for many years. Contrary to today's situation, when so many "film festivals" are held so easily, it was very difficult to establish a festival at the time Ottawa Festival was founded in the '70s. Kelly contributed so much of her energy for the development of animation art. She was very generous to the new animation attempts, and strongly supported various innovative experiments even when other people said those were not animation at the time. Also, in 1986, when their Festival had to move to Hamilton, facing the crisis, Kelly urgently came back and saved the Festival as it now continues in Ottawa. When Renzo and I were preparing the foundation of Hiroshima Festival, Kelly encouraged me very much for many years. It was just when Kelly left the organization of Ottawa Festival, when we founded Hiroshima, myself started to work as the Festival Director. I would like to extend my sincere appreciation to Kelly for her great contribution. I truly hope that the people of younger generation will know and remember about such a wonderful lady who dedicated her life for animation art. My thoughts for Kelly will remain in my heart for long.
Sayoko Kinoshita
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| ASIFA General Assembly at Cinanima 2003 : Important meetings for ASIFA's future! |
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CALL FOR DELEGATES FROM ASIFA GROUPS AND ASIFA OFFICES - to become the members of the New ASIFA Board !!! In order to have a strong start of the New ASIFA Board it is very important, that all ASIFA Groups and ASIFA Offices take a decision about which person they want to send as their representative for the New ASIFA Board. One important function of the New ASIFA Board Members is to be a LINK between the local members and the international administration - working in BOTH DIRECTIONS. - ASIFA Board Members should represent the interests from members of their region in the discussions and meetings of the ASIFA Board, they should give information from their groups to the ASIFA Board and to ASIFA's media. - On the other hand they should give reports about all projects and activities of ASIFA (particularily about the discussions and votes on the ASIFA Board) back to the members in their group. CALL FOR CANDIDATES FOR THE ASIFA EXECUTIVE BOARD Another most important task of the New ASIFA Board is to take care of the international affairs of our organisation. In order to do this in a professional way, the New ASIFA Board has to decide about the composition of the ASIFA Executive Board. The ASIFA Groups representatives are asked either to accept a certain working field within the ASIFA Executive Board, or to propose specialists from outside the ASIFA Board for selected functions. The following functions are proposed, the final composition of the ASIFA Executive Board should be decided by the New ASIFA Board. Composition of the ASIFA Executive Board: Please send name, address and e-mail of your delegate to Vesna Dovnikovic, our ASIFA General Secretary at secretary@asifa.net. |
| You find more information at asifa.net/new.structure and http://asifa.net/new.statutes |
| INTERNATIONAL ANIMATION DAY : CALL FOR PARTICIPATION |
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Following the idea of the former ASIFA President, Abi Feijo from Portugal, ASIFA started in the year 2002 the project of the INTERNATIONAL ANIMATION DAY.The 28th october was choosen (in memory of Emile Reynaud's invention of the "Theatre Optique"), and in the year 2002 for the first time this day was celebrated. The most important contributions were organised by the French Animation Association AFCA / ASIFA France, and by the ASIFA Groups in Portugal, Crotia and India. Also in the year 2003 the very well organised AFCA/ASIFA France group will prepare a lot of celebrations in different places in France and also in Paris. We truly hope, that this year more local ASIFA groups will join the project. Mikhal Bak from AFCA wrote to me: "We are organizing this year's Animation Celebration, which will take place in France from the 21st to the 28th of October. It was quite a success last year (120 places participated) and we decided that each year we will have a week-long celebration including the international Animation Day. This year, we're having between 150 and 200 places participating all over France (screenings, exhibitions, workshops, etc.). We are in charge of the general coordination of the events, and we organize ourselves a few events in Paris. For instance, we're organizing an exhibition about the variety of techniques in animation, and the day after it's opening, there will be a whole afternoon of authors presenting their technique to the audience. We really hope that this year more people around the world will organize something, even symbolic, on the 28th of October!" I that sense I also want to PUSH all ASIFA Groups to join this great project, to initiate their local contributions to this international ASIFA' Event! Thomas Renoldner ASIFA President |
| "ASIFA against WAR" - project still calling for contributions !!! |
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ASIFA has always been an organisation working across national, cultural or religious borders.Sayoko Kinoshita reminds us of the pacifist tradition of ASIFA; she was the first artist to send an animation - her "Peace Bird" - for the new project on ASIFA.NET. In the meanwhile more animations from around the world arrived, so we could start the exhibition. International artists are still invited to send their graphic files, animated gifs or flash animation (maximum 300 KByte) to webmaster@asifa.net |
| You find the ASIFA-against-WAR gallery in the [ART ZONE], or directly at http://asifa.net/againstWAR |
| News from ASIFA Yugoslavia: First Animated Feature in Production |
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Reported by Vesna Dovnikovic
The first Yugoslav Animated Feature is in production. The Animated Film Studio in Nish (Serbia) is completing the first Yugoslav animated feature film "Constantine The Great". This Roman emperor had his summer residence in Nish and numerous archeological finds testify about his presence in this southserbian town.  A group of enthusiasts, amateurs, established the Studio in 1996 and made numerous short animated films and animated commercials. Their biggest enterprise is the animated feature "Constantine The Great" to be previewed next year. The leading person of the studio Zoran Stefanovic, film director and key animator, and his colleagues Dejan Dabic, director and scriptwriter and Slobodan Milosevic, animator and editor just joined ASIFA and became the members of ASIFA Yugoslavia.
The Studio hosted the meeting of ASIFA Yugoslavia held on 18th August 2003 and the visit of ASIFA Croatia representatives - Vesna Dovnikovic, President, and Bordo Dovnikovic. The meeting was initiated by Nikola Majdak, the President of ASIFA Yugoslavia who opened the meeting and informed the present ASIFA members about the most important group's activities in the last few years. In spite of financial and other difficulties, this group is very vital and fulfills all the most important ASIFA goals promoting the art of animation and supporting the young artists and children workshops. In the capacity of ASIFA Secretary General, Vesna Dovnikovic talked about the history of ASIFA, its goals and plans, as well as about the results of the Extraordinary General Assembly in Annecy and about the upcoming assemblies in Espinho in November. Miki Simonovic, the leader of Children Animation Workshop in Vranje (SAF Vranje) and the member of ASIFA Workshop Group, informed the members about their plan to organise the 4th editon of International Children Workshop to be held in September 2004 in Vranje, Serbia. In 16 years of existence this workshop educated generations of young people and held three international workshops with respectable teachers like Sayoko Kinoshita, Robi Engler, Bordo Dovnikovic, Pencho Kunchev. SAF Vranje also helped and supported the animation studios and children workshops in other Serbian cities. |
| ANNECY 2003 - Festival Report - written by Bruno Edera |
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Bruno Edera, animation enthusiast from Switzerland, has written a great report about the Annecy 2003 Festival. It appears in our archive of Festival Reports - for the time being in French. An English translation is forseen for the next update. |
| You find the article in the [FESTIVAL ZONE], or directly at when you click here |
| Int. Animation Festivals - Close Entry Deadlines / Upcoming Events |
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U P C O M I N G E V E N T S LEIPZIG / Germany - dokfestival-leipzig.de - October 14 - 19, 2003 "SAFO" OTTAWA / Canada - awn.com/ottawa - October 16 - 19, 2003 "FAN" NORWICH / Great Britain - filmartsnorwich.co.uk - October 23 - 26, 2003 BAF! - BRADFORD / Great Britain - baf.org.uk - November 12 - 15, 2003 Cinanima - ESPINHO / Portugal cinanima.pt - November 10 - 16, 2003 I castelli animati - GENZANO DI ROMA / Italy - castellianimati.it - November 26 - 30, 2003 For more festival information check the ASIFA Festival Calendar: http://asifa.net/festival/calendar |
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