It was not artistry that would endear J.R. Bray to legions of animators, it was inventiveness.
CG or not CG: conformity vs. creativity in film animation.
Rich Moore, up for an Oscar for WRECK-IT RALPH, talks about gamers, ‘glitches’ and creating compelling animation.
Disney’s competitive drive and unflagging standards set a benchmark for quality in family entertainment.
Hubley freed the form of its early stylistic constraints, bringing creative individuals to the craft and making animated films a deeply personal art.
Winsor McCay found the wonders of animation a challenging diversion from his daily drawing, and the film industry found itself the perfect pitchman.
On the film in question and on cinema as a whole: Thoughts on the video essay form.
Lawrence Jordan, peaking in his seventh decade, shares tricks of his very unique trade.
From Winsor McCay to the Brothers Quay: A look at animation greats.
Depth, light, sound, music: Stephen and Timothy Quay speak on the many dimensions of film.
On the dangers of doing nothing: As the soccer world’s Poland/Ukraine-hosted Euro 2012 reaches a finale, a very different view of the pastime gets a close read.
Experimental filmmaker Bill Morrison’s latest found footage piece, THE MINERS’ HYMNS, opens tomorrow at New York’s Film Forum. New Yorker music critic Alex Ross praises Icelandic composer Jóhann Jóhannsson’s “brooding ambient score,” while Manohla Dargis gives due to Morrison as the “real deal” in found footage: “A miner himself of a type, Mr. Morrison has dug into the archives of the likes of the British Film Institute to cull primarily black-and-white images so rich, so alive with dirty faces, shadows and the occasional pit pony that they resurrect…