Interview with Shunga Gallery

Hello, gentle readers. Back in January of this year, I had the pleasure of being interviewed via email by the Shunga Gallery blog. Below is our conversation:

Shunga Gallery:  I love the use of the intertitles in your subversive tales as they were added in the movies of the silent era. What appeals to you about this style?

Jennifer Linton: The intertitles serve a couple of purposes. As you mentioned, they call back to the era of silent film. The paper cutout-style of animation I’ve used is one of the earliest forms of stop-motion animation and would’ve been contemporary to films that employed intertitles. On a basic level, having inter titles meant that I didn’t need to incorporate a voiceover narration. Also, the poetic rhyming of the text nicely reinforced the Victorian-derived aesthetic of the film, and provided opportunity for humour.

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SG: One of the paintings in the background of La Petite Mort is of Hokusai’s The Dream of the Fisherman’s Wife. Also in both (and more of your) movies the octopus is an important character and a recurring theme. What’s your fascination with Hokusai’s print and the octopus in general?

JL: I’ve long held a fascination with a type of Japanese illustration that depicts ero-guro content. This type of content combines eroticism with absurd and grotesque elements. Hokusai’s famous shunga print predates the era of ero-guro-nansensu by over a century, but was highly influential on this later cultural material. The octopus is a fascinating creature; intelligent and beautifully alien to our eyes. The movement of an octopus’s tentacles looks great in an animation, which I one reason I use them so frequently.

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SG: Also striking are the articulated figures in your movies. Is this for aesthetic or practical reasons? Are you familair with the articulated puppets used in the toy prints (shikake-e) in shunga ?

JL: The articulation of the paper puppets serves the practical purpose of allowing them to be animated, but I’m also a fan of the aesthetic of paper puppets. While the movement of such puppets can be stiff and unnatural, this stiffness works great with material that is surreal, fantastic and dream-like. Surprisingly, I was not previously familiar with shikake-e puppets! Thank you for alerting me to this tradition.

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Video still from “Domestikia, Chapter 3: La Petite Mort”, 2013. Directed by Jennifer Linton.

SG: What movies and/or artworks had the greatest impact on you and your art and why?

JL: I’m a big cinephile, so there are many, many films and artworks that impact and influence me. My current animation project (entitled Wunderkammer) took an image from Toshio Saeki’s Masturbation Box as a creative jumping-off point, for instance.

Thank you Marijn at Shunga Gallery for the interview.

Update on “Wunderkammer”

Hello! Welcome to the cold, dark days surrounding the Winter Solstice. It’s been a while since I last blogged, so I thought I’d post an update on the progress of my paper cutout animation Wunderkammer. I’m about two-thirds of the way complete, so I’m beginning to see the light at the end of the animation tunnel. It’s a very, very long tunnel. Thus far, the footage amounts to only two-and-a-half minutes which, on the one hand, doesn’t seem like much. On the other hand, it truly is. Twenty-four frames a second, gentle readers.

Now that the Fall term in my teaching job is winding down for the Winter break, my production should pick up somewhat. Below is a scene that I completed two days ago. There’s no audio yet. Enjoy!

 

Wunderkammer work-in-progress video

Hello, my darklings. Thought I’d create a work-in-progress blog post for my ongoing Wunderkammer animation project. Above you can see a video of the final render for scene 8, in which the contents of the titular wunderkammer are revealed. All of the images in this scene were drawn by hand, scanned and output as large-format greyscale prints. These prints are then coloured with coloured pencils and, in some cases, cut out. Once the backgrounds and cutouts are complete, I shoot them under-camera using stop-motion techniques. Below are a couple of quick cellphone photos of this work process.

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Wunderkammer update

Work-in-progress shots of my latest paper cutout animation project, entitled Wunderkammer.* Coming in 2018.

SYNOPSIS: Madelaine’s cabinet of curiosities contains wonders strange, frightening, and erotic.

*A wunderkammer, also known as a “cabinet of curiosities”, is a place in which a collection of curiosities and rarities is exhibited.

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Storyboard image from “Wunderkammer”

Reel 13 Shorts

Please take a moment to vote for my short animated film Toronto Alice.

Each week, Reel 13 presents three Short films for consideration. Viewers vote for their favorite, and the winner airs on Saturday night along with our Classic and Independent feature films. Be sure to check back each week to vote for your favorite – new films appear each Saturday night at midnight; voting continues through Wednesday at 5pm. — WNED PBS (Buffalo).

VOTE HERE: http://www.thirteen.org/reel13/vote/

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Wunderkammer title sequence

A wunderkammer, also known as a “cabinet of curiosities”, is a place in which a collection of curiosities and rarities is exhibited. The cabinet kept inside Madelaine’s stately Victorian home was a very curious one, indeed. A tale of secrets, sexual fantasy, and embroidery.

My latest paper cutout animation project, coming in 2017. No pun intended.