Hello, gentle readers. This summer — though not quite over yet — has whizzed by at an alarming rate and those crisp mornings so characteristic of autumn are beginning to cool the air, causing us to reach for that added layer of clothing. As many of you may know, I was preoccupied this summer with producing, and then promoting, my latest short animated film Toronto Alice. With this task now complete, I thought I should mention the activities of that other child of mine, La Petite Mort, which has lately become the tentacled darling of the ‘underground’ film festival circuit.
Last night (August 26), La Petite Mort screened at the UnderGround Short Film Festival in Cork, Ireland. (Wish I could’ve been there, but the finances just didn’t allow for a trip to Ireland). Earlier in the summer, this film was also featured in the Montreal Underground Film Festival — which touts the delightful acronym of MUFF — where it was nominated for the 2015 Jury Prize/Nomination pour un prix du jury MUFF 2015. It was also featured in the Planet X program at the Winnipeg Underground Film Festival, a program that promised “some of the weirdest movies you will ever see” (a notion of which I most heartily approve) .
Beyond the underground film fest circuit, La Petite Mort has enjoyed some loving from the, ahem, ‘alternative’ porn film festivals like the PopPorn5 Film Festival in São Paulo, Brazil, and the granddaddy of them all, the Berlin Porn Film Festival. Both festivals categorized La Petite Mort under “fetish”, which is a fact I find endlessly funny. These festivals are not dedicated to (what I would characterize as) the mainstream “bleached blonde, breast implants and long, acrylic nails” brand of American-produced pornography, but rather the “pierced, tattooed and hairy armpits” type of alternative, frequently feminist or LGBT, produced porn — which is something I philosophically support. Below is a write-up on La Petite Mort from Lucie Blush, a filmmaker who produces pornography directed at women.
After much thought, I’ve decided to post the entire short film of Toronto Alice online for all to see. Even though I’ve submitted to a bunch of festivals, I decided that wider exposure online was worth the risk of disqualifying the film from a handful of festivals.
If you enjoy, then please share widely. Thanks.
The entire film of “Toronto Alice” will not be available online to the general public for a little while longer — it’s an eligibility for film festivals and/or “premiere status” sorta thing. In the meantime, please enjoy this sneak peek in the form of a short trailer. Incidentally, the music that plays in the trailer is not featured in the film.
The character of Alice from Lewis Carroll’s ‘Through the Looking-Glass’ is transported to contemporary Toronto. Whilst riding a streetcar, Alice encounters a pair of strange characters who engage her in an equally strange debate over whether or not they, in fact, exist. The dialogue is borrowed directly from Carroll, but given a fresh and funny new twist in this short stop-motion animation.
Voice of Alice by Nicole Bauman
Voices of Tweedledee & Tweedledum by Matt Speirs
Sound recording and design by Karl Mohr
Paper puppets, stop-motion animation, post-production, editing, and direction by Jennifer Linton
Adapted from “Through the Looking-Glass, and What Alice Found There”, by Lewis Carroll (published in 1871).
This animation was made possible by the financial support of the Ontario Arts Council, and by the generosity of my Indiegogo contributors. Thank you!
Copyright ©2015 Papercut Pictures. All rights reserved.
Baby, it’s cold outside. Good time of the year to hide out in one’s basement studio, making things move a little bit at a time. After a very busy Fall term at my teaching jobs, I’ve settled down a bit with a lighter course load for the Winter. This is very good news for my Toronto Alice animation project, which is now back in progress. Only 01:27 done thus far, but we’re getting there.
It was a record year at Lady Lazarus: dying is an art. I received 63,000 views, which makes 2014 my busiest year ever. Also nice to see that, according to the stats counter, the blog post that received the most visits was the one dedicated to my last animated project, Domestikia, Chapter 3: La Petite Mort. Yay!
The WordPress.com stats helper monkeys prepared a 2014 annual report for this blog.
Here’s an excerpt:
Madison Square Garden can seat 20,000 people for a concert. This blog was viewed about 63,000 times in 2014. If it were a concert at Madison Square Garden, it would take about 3 sold-out performances for that many people to see it.
Click here to see the complete report.
At the beginning of October, I travelled to New York City to participate in the 2014 instalment of the Video Art & Experimental Film Festival. My short animated film Domestikia, Chapter 3: La Petite Mort screened both Thursday and Friday nights, with a filmmaker Q&A following the Friday screening. Above are a few photos from the event, and below a snippet from the festival review at the Videoart.net blog:
Over three nights in early October, as the New York fall seemed to be taking its grip on the city, filmmakers, artists and film enthusiasts huddled outside Tribeca Cinemas and engaged in animated exchanges and heated discussions – excitedly picking apart the films of this year’s Video Art and Experimental Film Festival. Now in its fourth year, the festival once again presented a challenging and arresting program of short films, showcasing the diversity of moving image work being created today.
This process of breaking down unproductive delineations and creating a vocabulary with which to grapple with the question of what can be understood as video art was present throughout the festival, offering the entire program a palpable vigour, though it was perhaps Thursday night’s screening, playfully dubbed ‘Beauty, Sex, Shame’ which most captured the exciting landscape of video art today. Beginning with Rino Stefano Tagliafierro’s BEAUTY – an elegiac reimagining of classic paintings which delights in the effervescence of beauty, luring us in with its promises before revealing its inherent ephemerality and inevitable decay – the program examined the seductive nature of images, throwing light on the perpetually fraught relationship between sex and death. In its masterful re-appropriation of classic painting, Tagliafierro’s film set the tone for much of the program, as a common thread throughout the program was a kind of filmmaking which utilizes cinematic and art historical references with unabashed candor, repurposing familiar footage and well worn tropes to create refreshingly current work. With its knowing nods to the cinema of the French New Wave, Canada’s wonderfully tongue-in-cheek film, Crème Caramel, creates a highly stylized visual language allowing it to reference classic cinema, while simultaneously reconfiguring the often narrow view of sexuality and femininity which exists in these films. Similarly, Jennifer Linton’s Domestikia, Chapter 3: La Petite Mort – a surreal exploration of female sexuality – draws on a tradition of illustrated Japanese pornography often referred to as tentacle erotica, imbuing the film with an awareness of the inescapable darkness and perversion hiding beneath the glossy kind of beauty we are conditioned to consume.
You can find the full review here, and more photographs from the festival here. Oh, and in case you don’t know already, I’m the dark princess dressed all in black.
Work-in-progress photo from my animation project “Toronto Alice” (ETA Spring 2015).
Any native of Toronto is well acquainted with our large and active population of urban raccoons. What many Torontonians may not know, however, is that Toronto is unique in Canada for its abundance of these intelligent — though often troublesome — critters.
Unlike cities such as Montreal, Edmonton, and Ottawa, Toronto winters are milder and we typically don’t get buried by the kind of snow that makes it hard for raccoons to forage. The city’s network of ravines also connects neighbourhoods, MacDonald says, which offers raccoons a safe place to retreat, if necessary. And unlike Vancouver (where, historically, there have been more condo buildings in the downtown), Toronto has residential neighbourhoods with leafy backyards, garages, and easy access to garbage. Urban raccoons have flourished here because of their ability to adapt to our environment, forage in our waste, and find shelter in easy-to-break-into older downtown homes.
— from http://www.chfi.com/2013/06/13/why-toronto-has-so-many-raccoons/
While indigenous to North American wooded areas, urban raccoons only exist in large populations in the cities Washington, DC, Chicago, and Toronto (see http://en.wikipedia.org/wiki/Raccoon#Urban_raccoons).
The gigantic raccoon pictured in the video still above hails from my upcoming animation project Toronto Alice. This creature is loosely based on the raccoon/s who habitually take a large crap on my back porch [grimace].
Hello Gentle Readers. Hope you’re squeezing out every last bit of enjoyment from these last few weeks of summer. I’ve spent most my summer in my basement studio, working away on Toronto Alice — well, ok, I did go camping, too. I’m gearing up for the Fall semester at the schools at which I teach, so Alice will go on the back burner for a little while. ETA for completion is Spring 2015.
Thought I would share a few screen captures from the project thus far. Enjoy!
My last animated short film, Domestikia, Chapter 3: La Petite Mort, will appear on the big screen of the Tribeca Cinemas in New York City during the Video Art & Experimental Film Festival 2014. The festival runs October 2-4, 2014. Details to follow.
Paper cutouts used in walking loop.
Rough cut of a “walking loop” I created for my upcoming animated film “Toronto Alice”. Using the classical animation technique of a lightbox + peg-bar, I created 26 separate drawings that were then printed, coloured and cut-out. The sequence was then shot using the frame-capture software Dragonframe, swapping in the different cutouts frame-to-frame. The footage was exported into After Effects, where the background was keyed-out, and the walking looped using time remapping. A moving background will eventually be placed behind the walking character.
While all the preliminary work was time-consuming, the advantage is that the “walking loop” can be played infinitely, for as long as I need it in the scene.