28.
11.
2024.
Wydział
Reżyseria
Reżyseria
5 i 6 grudnia w Kinie naszej Szkoły masterclass poprowadzą: nominowany do Oscara twórca filmu animowanego - Géza M. Tóth oraz publicysta, krytyk i konsultant scenariuszowy - Vassilis Kroustallis.
MFF StopTrik to wyjątkowe międzynarodowe święto światowej animacji poklatkowej, które odbywa się w dwóch krajach europejskich: Słowenii (Maribor) i Polsce (Łódź). Raz w roku oba miasta stają się alternatywną stolicą animacji – a to wszystko dzięki festiwalowi z wysokiej jakości programem filmowym, inspirującymi wydarzeniami towarzyszącymi oraz profesjonalnymi warsztatami tworzenia filmów poklatkowych.
Polska edycja festiwalu odbędzie się w Łodzi w dniach 5-8 grudnia.
Z przyjemnością informujemy, że Szkoła Filmowa jest Partnerem festiwalu. Dwa wydarzenia z tegorocznego programu polskiej edycji odbędą się w naszej Szkole.
A będą to:
5.12 (czwartek), Kino Szkoły Filmowej, godz. 16:00
ANIMACYJNY MASTERCLASS
"How to bring an everyday object to life – case study based on the animated series Mitch Match"
Prowadzenie: Géza M. Tóth
Masterclass w języku angielskim, 90’
6.12 (piątek), Kino Szkoły Filmowej, godz. 10:00
SCENARIUSZOWY MASTERCLASS
"Forward-Looking Characters and Spinning Situations: Two Ways to Craft Your Short Animated Storytelling"
Prowadzenie: Vassylis Kroustalis
Masterclass w języku angielskim, 90’
O wydarzeniach oraz prowadzących:
* "How to bring an everyday object to life – case study based on the animated series Mitch Match"
Seeing something more in a simple object may be the most ancient of creative gestures. Fantasy can create a complex world from the simplest things – wooden cubes, and pebbles. With this series I wanted to model the simplest way of thinking, to evoke the experience of “cloud gazing, which we are all familiar with… The project wanted to stimulate the audience’s inspiration and imagination, regardless of age and culture, it can satisfy the eternal human puzzle-solving wants. I mostly focused on finding a minimum sign that can activate the viewer, with which I can make them interested in what they see. I started playing matchsticks myself and experimented with a technique and decided to use this most simple object to create a universal story. There is nothing more important to me than a play. Not because of the win or result. I am attracted by the play and feel a deep connection with a child, its imagination, and its playfulness. One plays with the object and invents stories about it giving it a real personality. The Mitch Match series has been built on this creative gesture, taking advantage in the measure of the possibilities offered by animation design. The main character is a blue-headed matchstick, that embarks on a journey in every episode and always returns to the box at the end of lots of strange, playful, and imaginative adventures. A single matchstick, an easy-to-use object, and an opportunity for creative experiences that evoke everyone’s fantasy.
Géza M. Tóth
Oscar and Golden Bear nominated filmmaker, university professor, and head of KEDD Animation Studio. He is a member of the Academy of Motion Picture Arts and Sciences, and the International Academy of Television Arts and Sciences. His outstanding films such as Matches (2019), Mama (2009), Ergo (2008), Maestro (2005) have been successfully screened at more than 250 international film festivals and have won more than 120 awards. Maestro received an Oscar nomination for Best Animated Short Film in 2007.
* "Forward-Looking Characters and Spinning Situations: Two Ways to Craft Your Short Animated Storytelling"
Animation shorts both look like and diverge from traditional storytelling, inviting association of ideas, constantly changing characters, etc. Yet appearances can be deceiving and individual styles can still engage a number of storytelling tenets potentially used as an anchor to build your short animated story. The lecture will deal with two major ways to craft your animation script, characterdriven or situation-driven. It will also introduce the concept of a differentiated thematic pool (or arena), which will act as the embedding context of your animation story. Each animation story is individual and unique, but no story comes on its own.
Vassilis Kroustallis is a Greek film and animation professional based in Estonia. He has run (since 2011) independent animation news journal Zippy Frames; he has served (since 2019) as Animation Programme director at PÖFF Shorts (Black Nights Film Festival, Estonia). As a film critic, he has written for several publications (e.g. Film Is A Fine Affair, High On Films, Next Best Picture), and is Rotten Tomatoes-approved. His affiliations include an Annie Awards membership; he has acted as a consultant for animated festival submissions and as a script mentor in various events, including freelance. He's written two short film scripts, The Hotel' and 'Mar(t)y, and has completed a very short film, Homespital.
Polska edycja festiwalu odbędzie się w Łodzi w dniach 5-8 grudnia.
Z przyjemnością informujemy, że Szkoła Filmowa jest Partnerem festiwalu. Dwa wydarzenia z tegorocznego programu polskiej edycji odbędą się w naszej Szkole.
A będą to:
5.12 (czwartek), Kino Szkoły Filmowej, godz. 16:00
ANIMACYJNY MASTERCLASS
"How to bring an everyday object to life – case study based on the animated series Mitch Match"
Prowadzenie: Géza M. Tóth
Masterclass w języku angielskim, 90’
6.12 (piątek), Kino Szkoły Filmowej, godz. 10:00
SCENARIUSZOWY MASTERCLASS
"Forward-Looking Characters and Spinning Situations: Two Ways to Craft Your Short Animated Storytelling"
Prowadzenie: Vassylis Kroustalis
Masterclass w języku angielskim, 90’
O wydarzeniach oraz prowadzących:
* "How to bring an everyday object to life – case study based on the animated series Mitch Match"
Seeing something more in a simple object may be the most ancient of creative gestures. Fantasy can create a complex world from the simplest things – wooden cubes, and pebbles. With this series I wanted to model the simplest way of thinking, to evoke the experience of “cloud gazing, which we are all familiar with… The project wanted to stimulate the audience’s inspiration and imagination, regardless of age and culture, it can satisfy the eternal human puzzle-solving wants. I mostly focused on finding a minimum sign that can activate the viewer, with which I can make them interested in what they see. I started playing matchsticks myself and experimented with a technique and decided to use this most simple object to create a universal story. There is nothing more important to me than a play. Not because of the win or result. I am attracted by the play and feel a deep connection with a child, its imagination, and its playfulness. One plays with the object and invents stories about it giving it a real personality. The Mitch Match series has been built on this creative gesture, taking advantage in the measure of the possibilities offered by animation design. The main character is a blue-headed matchstick, that embarks on a journey in every episode and always returns to the box at the end of lots of strange, playful, and imaginative adventures. A single matchstick, an easy-to-use object, and an opportunity for creative experiences that evoke everyone’s fantasy.
Géza M. Tóth
Oscar and Golden Bear nominated filmmaker, university professor, and head of KEDD Animation Studio. He is a member of the Academy of Motion Picture Arts and Sciences, and the International Academy of Television Arts and Sciences. His outstanding films such as Matches (2019), Mama (2009), Ergo (2008), Maestro (2005) have been successfully screened at more than 250 international film festivals and have won more than 120 awards. Maestro received an Oscar nomination for Best Animated Short Film in 2007.
* "Forward-Looking Characters and Spinning Situations: Two Ways to Craft Your Short Animated Storytelling"
Animation shorts both look like and diverge from traditional storytelling, inviting association of ideas, constantly changing characters, etc. Yet appearances can be deceiving and individual styles can still engage a number of storytelling tenets potentially used as an anchor to build your short animated story. The lecture will deal with two major ways to craft your animation script, characterdriven or situation-driven. It will also introduce the concept of a differentiated thematic pool (or arena), which will act as the embedding context of your animation story. Each animation story is individual and unique, but no story comes on its own.
Vassilis Kroustallis is a Greek film and animation professional based in Estonia. He has run (since 2011) independent animation news journal Zippy Frames; he has served (since 2019) as Animation Programme director at PÖFF Shorts (Black Nights Film Festival, Estonia). As a film critic, he has written for several publications (e.g. Film Is A Fine Affair, High On Films, Next Best Picture), and is Rotten Tomatoes-approved. His affiliations include an Annie Awards membership; he has acted as a consultant for animated festival submissions and as a script mentor in various events, including freelance. He's written two short film scripts, The Hotel' and 'Mar(t)y, and has completed a very short film, Homespital.