Word: center
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Dates: during 1970-1979
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...Harvard provides the hardware, and Carpenter Center has the equipment most animators and fledgling studios improvise or do without, like the Oxberry. The Oxberry is an electric dream machine: it lights your drawings from below or polarizes the light from the sides; it fades or dissolves on command. It has sets of pegs on chain-treads, like tanks: hang your hole-punched transparencies or paper on the pegs and it will roll them steadily in any direction, your background stage left and your Mickey Mouse stage right. Ordinarily, each consecutive drawing is recorded on two frames of film; with...
...films being premiered this weekend is by Carpenter Center's animation teacher, Kathy Rose, featured in argument with her characters in her film pencil Bookings. Much of the recent independent animation in the U.S. has been done by one-time VES 153 teachers and students. George Griffin taught it last year, Mary Beams Phillips the year before. Frank Mouris, who won an Academy Award, Eliot Noyes, famous for his sand film Sandman, and Caroline Leaf, whose experiments have been so numberous and noteworthy the last Center Screen showing will be devoted to her work--all are old friends of Carpenter...
This weekend, in the final half of New Personal Animation, Kathy Rose and Frank Mouris with his wife Caroline reinforce Carpenter Center's reputation. Frank Mouris' latest work is reminiscent of his landmark Frank Film, which which won the 1973 Academy Award for indpendent animation. Frank Film was an autobiography in cut-outs and double soundtrack, one of Frank's voices telling his story and the other counting as the years roll by. The cut-outs came from years of scavenging fellow animators' magazines looking for the same orange slices and TV's in the same advertisements, which he made...
Drawn animation is probably most common, but volition can be endowed to objects, to photographs, to silhouettes and collages--the weekend after this, Center Screen features a show of cut-out animation exclusively. All of these devices are represented in the New Personal Animation. For example, in Part II, pixillation, or accelerated live-action footage, constitutes Los Ojos, by Gary Beydler, and Stephen Weatherkill's The Walker employs the mysteries of the optical printer, too multifarious for this writer to relate, to fill the walker's silhouettes with different background and patterns than his rightful landscape...
Drawing styles themselves range from Jeffrey Hale's which in Blind Man's Buff veers as close to Saturday morning cartoons as Center Screen gets, to Maureen Sherwood's freehand pen-and-ink for her Sempre Libera. John Canemaker's Confessions of a Stardreamer has the quick sketch and metamorphos is that keeps the cliches of the jaded actress on the soundtrack alive...