The aim of this conference is to revive a basic theme of the animated cinema: the relation between the frame and the filmic discourse. During the conference the work of some experimental cineastes, from the last century, and more recent films will be projected. Among these: Viking Eggeling, Len Lye, Hans Richter, Oscar Fishinger and Norman McLaren. Likewise, some of their works will be analyzed from different points of view, to emphasize the relation of the frame with the micro-montage.

The following themes will be discussed:

1. Finding the essence of the animated expression
2. The “persistence of vision” and the Phi Phenomenon
3. The awareness of illusion in the construction of the animated expression
4. Abstract animation
5. Visual Music
6. Norman McLaren and the importance of the “interstices”
7. Hand drawn sound
8. Pierre Hébert and the “plots of immobility”
9. Authors: Hans Richter; Vicking Eggeling; Len Lye; Oskar Fishinger; Norman McLaren; Franciszka and Stefan Themerson; Hy Hirsh; W + B Hein; Piérre Hebert; Paolo Gioli; Martin Arnold; Stan Brackage; Virgil Widrich, Personal work.

The frame has been important, throughout the history of animation and cinema, to those artists who have been aware of the illusion created by the medium. Frames in their projection, conform movement. And movement can evoke in the spectator different meanings, which do not exist in the everyday life.
This imaginary movement can be constructed considering the formal characteristics of the image, such as space, color, form, and size; also can be built upon a musical structure; or can be accomplished by internal or psychological process. Through the examples shown during the conference I will try to demonstrate this premise.

Films projected

CV TÂNIA DE LÉON

WORKSHOP COMPLEMENTAR THE IMPORTANCE OF THE FRAME THROUGH LIGHT DRAWING ANIMATION 

The main objective of the workshop is to experiment different possibilities in animation with the direct manipulation of the frames. The animation will be constructed upon a musical structure with light drawings. These drawings can be either done by the students or provided by the mentor.
Light drawing artists: Étienne-Jules Marey; Frank Gilbreth; Man Ray; Barbara Morgan; Laszlo Moholy-Nagy; Gjon Mil.
Light drawing animators: Eugène Deslaw; Jules Engel; Tochka; Lourdes Villagómez; Salvador Herrera.
Light drawings: Setting the camera; Drawing with light.
Animation with light drawings: Analyzing music; Animating

Data: 17 de Março, das 17h00 às 21h00; 18 de Março, das 17h00 às 21h00; 19 de Março, das 14h00 às 18h00

Sala 3.07

Pré-Requisitos para frequentar o Workshop
Domínio da representação em animação e dos programas Photoshop, Flash MX ou Aftereffects. 

MATERIAL NECESSÁRIO:
Cada aluno deverá trazer:
_uma ou duas lanternas de várias cores;
_PC com  Photoshop© e AfterEffects© (existem 12 na sala 3.07 que poderão ser utilizados, ter em consideração que o limite de inscritos é 15);
_Bloco de notas e lápis 

Se possível trazer ainda:
_Câmera Digital Reflex compatível com Dragon Frame©
_Tripé
_PC com Dragon Frame© (existem 3 na sala 3.07 que poderão ser utilizados)

INSCRIÇÃO ABERTA ATÉ 15 DE MARÇO
Inscrições limitadas a 15 vagas. 
A inscrição é GRATUITA mas está sujeita ao preenchimento da FICHA (aceder à FICHA DE INSCRIÇÃO AQUI). 
Também é obrigatório o envio de um link para visualização do portfolio (YouTube ou outro), para o e-mail comunicacao@fba.ul.pt.  A participação está sujeita a uma selecção.
Apenas serão aceites as inscrições cujos interessados tenham enviado o link para consulta de portfolio.
A selecção para a participação no Workshop é da inteira responsabilidade da FBAUL. Os seleccionados serão informados no dia 16 de Março.

EXPOSIÇÃO CHRONOGRAPH I.CHRONOLOGICAL TIME

The shadows generated throughout the day invite us to walk by the time’s sidewalk. This is an essay about chronological time, where the main work is solved with time-lapse.

Chronological time is measurable. Since many centuries ago clocks are being used to measure it, but it has not always been this way. Different ancient cultures used sun clocks, which projected shadows over specific structures to indicate the hours. These hours were different according to the season and the location of the sun clock. If we take this as a reference to measure time, we can ask: can we consider the shadow’s movement as an evidence of a kind of chronological time?

The work presented in this exhibition was produced with the support of PASPA UNAM.

This exhibition is part of the I+D project, Alternative Strategies for Image Making Founded on its Essence: the Moving Expression.

Ministerio de Economía y Competitividad. Gobierno España. HAR2013-41708-P