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Equally innovative is the 1968 film “Sand, or Peter and the Wolf” by filmmaker Caroline J. Leaf ’68. Leaf’s work is one of the earliest and best examples of the use of sand in animation, as she creates an ethereal, shapeshifting set of grainy black and white characters. Though its graphics appear rudimentary to today’s eye, Leaf’s film remains visually captivating. Leaf constantly recreates her characters’ forms, faces, and even species; in one scene, a wolf eats a bird that later...
...exhibition’s most successful movie is likely that of Frank P. Mouris ’66, whose “Frank Film” won the Academy Award for Best Animated Short Subject in 1974 and has since been preserved in the United States National Film Registry by the Library of Congress. Mouris’s film features two overlapping audio tracks: the filmmaker lists words beginning with the letter “F” while also telling his own life story. At the same time, an ever-shifting collage of magazine clippings appears on the screen...
...backroom of the exhibition presents more recent efforts in animation at Harvard. Four televisions showcase work by current students and recent alums. Another screen shows a short film of the exhibition’s co-curator, Terah L. Maher, along with the sheets of clay sandwiched in Plexiglas that were used to make the movie. The students’ films track a wide range of graphic and conceptual complexity. A work by Lisa A. Haber-Thomson ’02 consists exclusively of stick figures, but deals with the beautiful image of a woman trying to stitch together a torn...
...were in attendance. Cambridge mother Alix Kepner had taken her nine year-old daughter Gemma to see the exhibition. “We’re big Pixar fans,” explained Kepner when asked about what had brought them to the Carpenter Center. Talking about her favorite film, “Going Up,” Gemma said, “I liked the script.” When her mother commented that the film in question did not feature any words, Gemma replied, “You don’t need words—pictures...
Skiers beware! After seeing “Frozen” your next vacation will likely be in the warmest location possible. Unlike most horror film directors, writer and director Adam Green requires no elaborate torture devices, no grotesque supernatural entities, and no masked psychopathic killers to terrify his audience. Instead, Green expertly captures the realism of dying at the hands of Mother Nature to craft his latest success...