Emile Reynaud's Teater Optique

Emile Reynaud’s Theatre Optique

ASIFA as created the International Animation Day (IAD) in 2002, honouring the first public performance of Emile Reynaud’s Theatre Optique in Paris, on the 28th October 1892.

Since then, ASIFA coordinates and helps promote IAD celebrations all over the world: an unique event that is simultaneously celebrated in several cities over 40 countries, putting the art of animation in the limelight and approaching it to different publics and cultures.
Every day we witness the importance and beauty of animation: not only it spreads in commercial theatres – featuring 3D animation and special effects, on TV, publicity, music industry, cross media, internet, but, and most specially, it develops and grows as an art form, trough short, media and feature films, signed by independent authors, students, children from all over the world.
Its impressive range of approaches, techniques and goals – drawing, painting, animating puppets and objects, using clay, sand, paper and computer; multiple narratives and non narratives, diversity of themes – confirms that ANIMATION is an extraordinary and powerful medium of art and cultural expression and communication.
ASIFA role is both to enhance and reach the public’s curiosity, providing a range of demonstrations and shows: such as encounters, concerts, exhibitions, screenings, cultural activities related to contemporary events and local interests. Stimulating dynamics and collaborations between chapters, groups and agents from different countries.

ASIFA Chapters and other institutions dedicated to animation are invited to join us on the promotion of suitable projects for IAD celebrations: screenings, workshops, conferences, and exhibitions. There are countries that promote a big event for the occasion, others simply point out this symbolic moment with one day of screenings and encounters. The important thing is to participate.

To enhance the events and really contribute for the diffusion of animation films, each IAD promoter has the possibility of trading animation programs between countries/partners. To organise, facilitate and help promote trades please contact IAD curator, Vanessa Venture (vventura at casa-da-animacao.pt).

By the end of September 2016 a short report on the IAD celebrations and trades will be send to all members and partners.

Poster by Yuri Koji

Poster by Yoji Kuri

Each year, ASIFA calls upon a famous animator to create the poster of IAD. It is then adapted for each country in order to guarantee a worldwide view of the event. The Japanese artist and filmmaker YOJI KURI created 2016 IAD poster.
Each organizer that promotes IAD event may use the poster and the labels to create its own communication tools according to its needs: printed posters, flyers, booklets, etc.
To assure the coherence of IAD announcements and communication, these tools must include: the original IAD image (of the poster), the signature of the artist and ASIFA logo.


Yoji Kuri

Birthday: Apr 9, 1928

Website: http://www.yojikuri.jp/
Japanese cartoonist and independent filmmaker. One of, if not the most important figures in the history of Japanese independent animation, he was the unofficial leader and most prolific of the “Animation Association of Three” collective who kick-started the renaissance of modern-styled, independently-made, adult-aimed animation in early 1960s Japan.

He is known internationally for the very black comedy of his films, with the typically naïve style of his cartooning often belying the surreal, obscene and disturbing situations they depict (though he has worked in a variety of styles and mediums, including pixilation); this made them a favourite among the fervently counter-cultural audiences, which included such filmmakers as René Laloux, of the first few years of the Annecy International Animated Film Festival, and in a 1967 publication he was considered to be “the most significant” and “the only Japanese animator whose work is known in the West” (which is to disregard the Toei Animation features and Astro Boy series that were first seen in the West around the same time that Kuri’s first several films were and mentioned in passing in the same publication, though these were not known as works of an individual and characteristic filmmaker and often had their Japanese origin played down).

He is also known in Japan for his comics, a collection of which earned him the 1958 Bungeishunjuu Manga Award. Though now retired from filmmaking he continues to illustrate and to teach animation at Laputa Art Animation School.