Evergreen Media Archive
Evergreen Media Archive
This is a listing of Media Works presentations created to facilitate easy access to the tapes in The Evergreen State College Media Archive. Organized by Year then alphabetically by creator with indication as to location on the tape and running time, Each tape has a session number consisting of the date (yyyy-mm-dd:##), and has as much information as is discernible from it, both from information on the cover and information garnered from the works themselves.
The Format:
YYYY-MM-DD (Date reviewed):
Creator’s NAME :
TITLE (if any) and/or Tape Label Information : Additional tape label information : ## (place on the media in relation to other works or tape counter number)
hh:mm:ss (running time )
Synopsis: post-viewing details regarding tape.
Content, Relevant Details. Textual quotations from work in quotation marks.
|Date |Creator’s Name / |Film/Tape Title |Content |Synopsis |Location |Running Time |
| |Statement of |Or Label Information | | |On Tape |HH:MM:SS |
| |Responsibility | | | |(counter # | |
| |(Provenance Information) | | | |or relation | |
| | | | | |to other works) | |
| |Previously reviewed |tapes (see TESC Archives Accession |76-08:) | | | |
| | | | | | | |
|1984 |Mediaworks |Clay Animation (KlayTV 4'30), Beacon Hill Boys | | | | |
| | | | | | | |
| | |Found Footage Finals:. | | | | |
|1984 |Mediaworks | |- No names or titles |Final projects from 1984 | | |
| | |cutout / collage | | | | |
|fall 1995 |Mediaworks | | | | | |
| | |Scratch / Direct animation | | | | |
|Fall 1995 |Mediaworks | | | | | |
| | |Zoetrope Flipbook tests | | | | |
| |Mediaworks | | | | | |
| | |Reel Tape #1 | | | | |
|(1995-1996) |Mediaworks | | | | | |
|(1995-1996) | |Reel Tape #2 | | | | |
|1996-1997 |Mediaworks | | | | | |
|1996-1997 | |Anna's Stories from Toro Creek | | | | |
| |Mediaworks | | | | | |
| | |"Area of Contention: Mediaworks" | | | | |
| |Mediaworks | | | | | |
| | | | | | | |
|Date |Creator’s Name / |Film/Tape Title |Content |Synopsis |Location |Running Time |
|(YYYY-YYYY/ |Statement of |Or Label Information | | |On Tape |HH:MM:SS |
|YYYY-MM-DD) |Responsibility | | | |(counter # | |
| | | | | |or relation | |
| | | | | |to other works) | |
|2006-10-05:01 | | | |This is a compilation of extremely short primarily 2-dimensional | | |
|1997-1998 | | | |cutout animation projects from Mediaworks 1997-1998. Many of these | | |
| | |Mediaworks Animation |Dub 3/11 |projects are without names of authors and/or without titles. Most | | |
| | |Ai under the camera exercises | |projects are repeated (looped) 2-3 times before the subsequent | | |
| | | | |project is shown. This contains content of limited interest and | | |
| | | | |value. | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | |Scissors cutting face, 2d cutout animation. text: "Aviva" | | |
| | | | | | | |
| |Holland, Aviva | | |2D cutout animation of a rock and a toad. | | |
| | | |Untitled | | | |
| | | | | | | |
| | | | |"Your message here." "always purchase LA Gear products". Spider being| | |
| |Fehmi, Emy | |Rock, Toad |squished, large green blob. "grade A slug meat". "end". 2D cutout | | |
| | | | |animation | | |
| | | | | | | |
| | | | | | | |
| |Williamson, Matt | |Untitled | | | |
| | | | | | | |
| | | | | | | |
| | | | |Character falls on head holding a sparkler. | | |
| | | | | | | |
| | | | |Character "you kill" pulls objects out of head. "the end". | | |
| | | | | | | |
| | | | | | | |
| |Funkland, Laura | |exercise #2 |. | | |
| | | | | | | |
| | | | | | | |
| |Walls, Jeanette | |Untitled |No details | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| |Yazdi, Fedra | |Untitled | | | |
| | | | | | | |
| | | | |2D animation of a kitten and an orange-haired girl. | | |
| |Geohart, Taryn | |Coconut and Booboo | | | |
| | | | | | | |
| | | | |2D cutout animation of a model from a magazine, a magnifying glass, a| | |
| |Pechenker, John Paul |. |Untitled |2d drawing coming out of a television, and drawn broken bottles. | | |
| | | | |"wish you were peace". | | |
| | | | | | | |
| |Ellis, Linda | |Untitled |2D cutout animation of a cat character and flames. "the end". | | |
| | | | | | | |
| | | | |wire animation | | |
| | | | | | | |
| |Eric Toxha | |Untitled | | | |
| | | | |A 2D cutout animation of a glacier in the background with moving Visa| | |
| | | | |and Discover credit cards. | | |
| | | | | | | |
| | | | | | | |
| |Veronica Hunter | |Jack |Ear ring animation. Clock and a crocodile with a guy shoveling meat | | |
| | | | |towards it with a fork. Also, tinsel and plastic creatures + 2d drawn| | |
| | | | |animation of fantastic creatures on the street breathing fire, with | | |
| | | | |the inclusion of a post office mail-drop box. | | |
| | | |Untitled | | | |
| | | | | | | |
| | | | |Voice-over with images of a bottle and a toilet bowl. | | |
| |Erik [ ] | |Untitled | | | |
| | | | |2D animation cutouts, Green paper money and pennies. Green graph | | |
| | | | |paper. "delicious pie". Guy walks up to "delicious pie" book. | | |
| | | | | | | |
| | | | |No details, besides being quite stunning. | | |
| |James Gamble | |Untitled | | | |
| | | | |No details. | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| |Jeff Baker | |Cave of Doom | | | |
| | | | | | | |
| | | | | | | |
| |Kevin Kogin | |Untitled | |389 | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| |Markus Pfenning |. |The Persistance of Cancer | |410 | |
| | | | | | | |
| |(same ?) | |Dog Day After-Life | |420 | |
| | |440 Sarah Sharp A Short Piece | | | | |
| | |2D cutout animation of a lighter and a baby in a room | | | | |
| | |with a window, through which a dog barks. | | | | |
| | | | | | | |
| | |464 Unknown Author Hira | | | | |
| | |Animation of gold foil, featuring the appearnace of a | | | | |
| | |green bouncing figure with multiple limbs being chased by| | | | |
| | |scissors. | | | | |
| | | | | | | |
| | |484 Unknown Author Robin | | | | |
| | |2D cutout animation of a blue bird picking up a hat with | | | | |
| | |its beak, and doing things in green grass. Stands out as | | | | |
| | |interesting from the rest. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |500 Eric Toxha Untitled | | | | |
| | | | | | | |
| | |Repeated from earlier in the tape. 2D cutout animation of| | | | |
| | |broken bear glass bottles, magnifying glass, tv and model| | | | |
| | |figure. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |541 Jim Guerci "Larry" | | | | |
| | | | | | | |
| | |A 2D perspective animation of a man cleaning a street | | | | |
| | |very quickly, with other things. The only animation so | | | | |
| | |far with such innovative use of perspective. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |565 Koji Goto Untitled | | | | |
| | | | | | | |
| | |Flower and leaf animation, with a drawn man tossing | | | | |
| | |things around. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |587 Unknown Author "Marcella" | | | | |
| | | | | | | |
| | |Painted 2D animation. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |2006-10-05: 02 (note: this tape was already reviewed | | | | |
| | |Trevor Anderson on 2002-04-17). | | | | |
| | | | | | | |
| | |Tape Title: Mediaworks Fall 1995 Flipbook + Zoetrope | | | | |
| | |Tests | | | | |
| | | | | | | |
| | |Dub 2002-01-29 | | | | |
| | | | | | | |
| | |Par 1995-11-07 | | | | |
| | | | | | | |
| | |Par 1995-11-20 | | | | |
| | | | | | | |
| | |Synopsis: A collection of Flipbook and zoetrope animation| | | | |
| | |tests, showing themes of evolution of form and shape. | | | | |
| | |There are no authors names or titles of projects, nor is | | | | |
| | |there any other information. Probably only of limited | | | | |
| | |interest. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |000 Unknown Author Untitled | | | | |
| | | | | | | |
| | |Dinosaurs, singing rock band, clouds. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Unknown Author Untitled | | | | |
| | | | | | | |
| | |Vomiting man in an animation loop, probably originating | | | | |
| | |from a flipbook. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Unknown Author Untitled | | | | |
| | | | | | | |
| | |Spinning Geometrical shapes. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Unknown Author "Deadly Pepsi" | | | | |
| | | | | | | |
| | |An animation of a pepsi bottle beiong morphed into a | | | | |
| | |snake eating its own tail. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |... the tape continues, but I stopped reviewing it | | | | |
| | |because this information I am getting is not valuable. | | | | |
| | |2006-10-05: 03 | | | | |
| | | | | | | |
| | |Tape Title: Mediaworks Films 1998 | | | | |
| | | | | | | |
| | |Dub 3/11 | | | | |
| | | | | | | |
| | |16mm Film Transfers | | | | |
| | | | | | | |
| | |01. Todd Smith (P)Lunge | | | | |
| | | | | | | |
| | |02. Kevin T. Alen SMPTE | | | | |
| | | | | | | |
| | |03. Forrest Martin La Chausette Rouge | | | | |
| | | | | | | |
| | |04. Jamie Dunn The Effects of Light | | | | |
| | | | | | | |
| | |05. Josh Knisely American Night | | | | |
| | | | | | | |
| | |06. Geoff Watland The Story of E. Reggio Schools | | | | |
| | | | | | | |
| | |Mediaworks Projects Spring 1998 | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Synopsis: A collection of independent student productions| | | | |
| | |from the Spring Quarter of Mediaworks 1997-1998. All of | | | | |
| | |these projects are shot on 16mm film, some are animation,| | | | |
| | |some are some narrative live action, some experimental | | | | |
| | |live-action animation. The picture quality of this tape | | | | |
| | |dub is somewhat bad at times, suffering from skipping / | | | | |
| | |flipping of the frame. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |000 Todd Smith "(P)Lunge" | | | | |
| | | | | | | |
| | |16mm Film, hand drawn 2d animation. Appears to be | | | | |
| | |autobiographical in nature, telling the story of the | | | | |
| | |author as a child. This has a very calm and subdued, yet | | | | |
| | |compelling quality. Features the narrator / main child | | | | |
| | |character standing in a field, and standing at a door | | | | |
| | |with his finger in the hinge waiting for someone to close| | | | |
| | |it, and others. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Credits: | | | | |
| | | | | | | |
| | |Todd Smith: wrote directed inked narrated funded. | | | | |
| | | | | | | |
| | |Allison Holt + Gabrielle Raley: painted and punched | | | | |
| | | | | | | |
| | |Camera operators: Todd Smith and Gabrielle Railey | | | | |
| | | | | | | |
| | |Camera Fixer: Jim Felix | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Thanks: | | | | |
| | | | | | | |
| | |Sally Cloninger, Ruth Hayes, Jupong Lin, Gillian Duff, | | | | |
| | |Marge brown, Emy Fehmi, Jim Felix, Jessica Findley, Jeff | | | | |
| | |McBride, Jamala Henderson, Eric Toth, Aviva Helland | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Processed by Forde Motion Picture Labs | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |168 Kevin T. Allen "SMTPE" | | | | |
| | | | | | | |
| | |16mm experimental film, featuring an overriding theme of | | | | |
| | |trains. Images feature train tracks, train freight cars | | | | |
| | |moving by, a man walking along train tracks, a woman | | | | |
| | |sewing near a window, letters. Text "I miss you" "to wash| | | | |
| | |hands rust" "weaving shadows of day", text "picture | | | | |
| | |start". Featurse optical reprinter work, inverse letters,| | | | |
| | |train tracks again, overlays, exposure shifts, faces, a | | | | |
| | |train tunnel. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |348 Forrest Martin "La Chausette Rouge" | | | | |
| | | | | | | |
| | |Exercise equipment, people wearing fancy clothes and | | | | |
| | |talking to each other while exercising on machines. There| | | | |
| | |are many scratches in the film, as if run through an | | | | |
| | |abrasive projector. Soon there is a present and the | | | | |
| | |characters struggle to open the packaging. | | | | |
| | | | | | | |
| | |Credits: Serge Nylon, Maki Hojo, Zoe Gamble, Josh, | | | | |
| | |Michael Getz, Todd Smith | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |443 Jamie Dunn "An Experience of Light" | | | | |
| | | | | | | |
| | |Lighted hallways, of what looks to be 16mm film strip, | | | | |
| | |progressing to a zoom in on the filmstrip, which image | | | | |
| | |begins moving, revealing images of hands, architectural | | | | |
| | |drawings, and others. Mike Cousino = other camera | | | | |
| | |operator besides Jamie Dunn. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |492 Josh Knisely "American Night" | | | | |
| | | | | | | |
| | |16mm narrative style experimental film. Features images | | | | |
| | |of a man in the woods with an axe. He is wearing a plaid | | | | |
| | |coat. The image is slightly underexposed and dark, as if | | | | |
| | |shot by natural lighting in the woods. The man begins | | | | |
| | |chopping the ground. Cuts to a woman waking up in a small| | | | |
| | |cabin. This film has the same scratched appearance as "La| | | | |
| | |Chausette Rouge", as if run through the same abrasive | | | | |
| | |projector. Blood on wife's (?) arm, as if from stabbings | | | | |
| | |by a needle. There is an overexposed and very scratched | | | | |
| | |shoht of the woman outside. The woodsman, back in the | | | | |
| | |cabin says "Mend, woman." The woman asks "Where you put | | | | |
| | |him?". She says "We could still give it a name". The | | | | |
| | |woodsman is angry and disturbed. The wife steals away to | | | | |
| | |the site of the grave, and tries to dig up her baby. Yes,| | | | |
| | |the plot is slowly revealed, but quite mezmorizing in its| | | | |
| | |subtlety and poignancy of emotion. Essentially, the woman| | | | |
| | |has a baby that dies and the husband goes into the forest| | | | |
| | |to bury it. This film is a narrative documenting the | | | | |
| | |emotional difficulty this even places upon these two | | | | |
| | |characters. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |724 Geoff Watland "The Story of the Preschools of Reggio | | | | |
| | |Emilia" | | | | |
| | | | | | | |
| | |Color 2D animation on 16mm film, documenting in an | | | | |
| | |abstract sort of fashion a pre-school, possibly german? | | | | |
| | |Features imagery of classical german WW2-period imagery, | | | | |
| | |e.g., swastica. Music by Candice Baldwin. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Note: began dubbing onto MiniDV tape, adding timecode on | | | | |
| | |the DV tape of this dub in addition to original tape | | | | |
| | |counter code | | | | |
| | |2006-10-13: 01 | | | | |
| | | | | | | |
| | |Tape Title: Mediaworks A2 | | | | |
| | | | | | | |
| | |Dub 3/11 | | | | |
| | | | | | | |
| | |No date! | | | | |
| | | | | | | |
| | |(info on note inside tape): | | | | |
| | | | | | | |
| | |01. Miriam Howard | | | | |
| | | | | | | |
| | |02. Becky Nelson | | | | |
| | | | | | | |
| | |03. Brian Ridder | | | | |
| | | | | | | |
| | |04. Forrest Martin | | | | |
| | | | | | | |
| | |05. Geoff Watland | | | | |
| | | | | | | |
| | |06. Gillian Duff | | | | |
| | | | | | | |
| | |07. Maya Rish | | | | |
| | | | | | | |
| | |08. Ruth gregory | | | | |
| | | | | | | |
| | |09. Gilmartin Wendy | | | | |
| | | | | | | |
| | |10. Todd Smith | | | | |
| | | | | | | |
| | |11. Fedra Yadzi | | | | |
| | | | | | | |
| | |12. Quenby Moone (Clip1-Clip2) | | | | |
| | | | | | | |
| | | | | | | |
| | |(tape #2) | | | | |
| | | | | | | |
| | |13. Josh Knisely 1+2 | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Note: due to the commonality of student's names with tape| | | | |
| | |(2006-10-05: 03 - Mediaworks Spring Projects 1998), I | | | | |
| | |would wager the date of this tape is 1997-1998. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Synopsis: Another collection of animations from | | | | |
| | |Mediaworks 1997-1998, from an assignment in the class | | | | |
| | |dating around the end of October. (many projects are | | | | |
| | |dated 10-30 to 10-31. Each animation is repeated 3 times | | | | |
| | |on the tape, and there is no sound for any of the | | | | |
| | |projects. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |000 Miriam Howard "Part One" | | | | |
| | | | | | | |
| | |A short 3d stop motion animation of Glide floss. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |019 Miriam Howard "Part Two - A Rumble in the Milky Way. | | | | |
| | |AKA Supercop." | | | | |
| | | | | | | |
| | |2D cutout animation of an alien in a spaceship eating | | | | |
| | |pizza, and then donning a leotard and leopard print coat.| | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |052 Rebecca Nelson "Experimental Mac Part One" | | | | |
| | | | | | | |
| | |11/1/97. A round object bouncing around inside of a white| | | | |
| | |box. 2D cutout animation. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |03:17 | | | | |
| | | | | | | |
| | |Rebecca Nelson "Experimental Mac Part Two" | | | | |
| | | | | | | |
| | |2d cutout animation of a crow in a tree with an egg | | | | |
| | |breaking after falling from the bird. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |03:52 | | | | |
| | | | | | | |
| | |R.A. Ridder "Experimental Mac Clip #1" | | | | |
| | | | | | | |
| | |Shadows and shifting lights swirl around an egg shaped | | | | |
| | |rock as the subject. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |04:48 | | | | |
| | | | | | | |
| | |120 R.A. Ridder "Experimental Mac Clip #2" | | | | |
| | | | | | | |
| | |A rock with a multicolored 2d animated salamander that | | | | |
| | |crawls under it. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |05:15 | | | | |
| | | | | | | |
| | |Forrest Martin Untitled | | | | |
| | | | | | | |
| | |Leaf animated over a background of a universe, a spaceman| | | | |
| | |comes out of the leaf with a teter attached, and opens | | | | |
| | |its helmet, an eye blinks. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |06:13 | | | | |
| | | | | | | |
| | |Geoff Watland Untitled | | | | |
| | | | | | | |
| | |A Duracell battery takes off from the planet earth and | | | | |
| | |blasts through outer space, crushing a bird that is | | | | |
| | |flying through the void in the process. 2D cutout | | | | |
| | |animation. 10-30-97 is the date . | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |07:35 | | | | |
| | | | | | | |
| | |Gillian Duff, Jeff Mebrinay Untitled | | | | |
| | | | | | | |
| | |A nail flies through the sky like a bird, and lands in a | | | | |
| | |field, and then flies over mountains, to where it comes | | | | |
| | |into contact with a continent. A giant in a kilt walks up| | | | |
| | |and grabs the nail and destroys the continent (probably | | | | |
| | |England). Text "Sor Alba - Free Scotland". ?? 1997-10-31 | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |08:50 | | | | |
| | | | | | | |
| | |Maya Rish Untitled | | | | |
| | | | | | | |
| | |A piece of hard candy "Halls autonomously removes itself | | | | |
| | |from its container and unwraps and then wraps itself | | | | |
| | |again, going back into the bag. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |09:40 | | | | |
| | | | | | | |
| | |Maya Rish Untitled | | | | |
| | | | | | | |
| | |A 2D cutout animation of a cat sitting in a black area | | | | |
| | |and then moving. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Ruth Gregory "Mr. Good Beer" | | | | |
| | | | | | | |
| | |Part #1: A 2D cutout beer bottle with text "good beer" | | | | |
| | |ambles along the screen and then breaks. Part #2: | | | | |
| | |"Curiouss George Meets Mr. Good Beer". A Monkey ambles | | | | |
| | |up, drinks the beer in the bottle and then vomits and | | | | |
| | |falls over. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |12:30 | | | | |
| | | | | | | |
| | |Wendy Gilmartin "Finner" | | | | |
| | | | | | | |
| | |Part 1: Abstract movement of water like shapes in pink | | | | |
| | |against a green background. | | | | |
| | | | | | | |
| | |Part 2: A beetle walks along, and then has interactions | | | | |
| | |with the previous abstract pink shapes. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |14:22 | | | | |
| | | | | | | |
| | |Todd Smith Untitled | | | | |
| | | | | | | |
| | |A tooth is animated moving through a background of | | | | |
| | |circles and ellipses, and it then meets a dragon, who has| | | | |
| | |a tooth missing, and the dragon breaths fire onto the | | | | |
| | |tooth. The tooth is mended back into its mouth, as good | | | | |
| | |as new! | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |16:34 | | | | |
| | | | | | | |
| | |Fedra Yazdi Untitled | | | | |
| | | | | | | |
| | |A circular shape does stuff. Then it ends. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |17:40 | | | | |
| | | | | | | |
| | |Quenby Moone "The Miracle of Life" | | | | |
| | | | | | | |
| | |A male baby sits in a womb-like background, and then is | | | | |
| | |born. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |18:27 | | | | |
| | | | | | | |
| | |Quenby Moone "Lock Walk" | | | | |
| | | | | | | |
| | |A padlock "ambles" along a background that looks like | | | | |
| | |ice, and then is unlocked by a key. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |19:15 | | | | |
| | | | | | | |
| | |Josh Knisely "Shoo Fly" | | | | |
| | | | | | | |
| | |A fly flies around, and gets near a cutout figure with | | | | |
| | |female 80s hair, who squashes the fly, causing blood to | | | | |
| | |squirt. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |20:27 | | | | |
| | | | | | | |
| | |Unknown Author "A New Breed" | | | | |
| | | | | | | |
| | |An Einstein figure on top of a skeleton ambles up and | | | | |
| | |decapitates Kermit the Frog, and a man's head rises out | | | | |
| | |of the Kermit Figure. | | | | |
| | | | | | | |
| | |2006-10-13: 02 | | | | |
| | | | | | | |
| | |Tape Title: California Institute of the Arts | | | | |
| | | | | | | |
| | |School of Film/Video | | | | |
| | | | | | | |
| | |Showcase 1995 | | | | |
| | | | | | | |
| | |Experimental Animation | | | | |
| | | | | | | |
| | |Part 2 | | | | |
| | | | | | | |
| | |Rapunzel Jackie Ross (08:40) | | | | |
| | | | | | | |
| | |The Exquisite Corpse Lorelei Pepi & Others (07:30) | | | | |
| | | | | | | |
| | |Them Sharon Wu (01:30) | | | | |
| | | | | | | |
| | |Reign of the Dog: A Re-Visionist History Ruth Hayes | | | | |
| | |(15:37) | | | | |
| | | | | | | |
| | |Loteria Jorge Ramirez (01:10) | | | | |
| | | | | | | |
| | |Quilted by Hand Debra Callabresi (10:19) | | | | |
| | | | | | | |
| | |Slik Willy Brian Midkiff (5:45) | | | | |
| | | | | | | |
| | |The Shark'ss Fin William Lebeda (05:30) | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Synopsis: A Collection of graduate thesis films from the | | | | |
| | |California Institute of the Arts department of | | | | |
| | |experimental animation, 1995. Of particular interest as | | | | |
| | |it contains Evergreen Faculty Member Ruth Hayes' thesis | | | | |
| | |film "Reign of the Dog". | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Note: | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |00:00 | | | | |
| | | | | | | |
| | |Jackie Ross "Rapunzel" | | | | |
| | | | | | | |
| | |2D Hand-Drawn Animation. Still frames are used to | | | | |
| | |establish shots. A character of female form with long | | | | |
| | |flowing curly golden spiraling hair is dancing. Other | | | | |
| | |members of the court with blue coats clap, and they all | | | | |
| | |drink wine!A shadowy knight-like figure walks through a | | | | |
| | |forest of treetrunks. He is now not dark, and wields a | | | | |
| | |swoard, as if practicing. Then he poses, leaning on his | | | | |
| | |sword. The earlier female figure with golden hair watches| | | | |
| | |him, and then climbs many many stairs. Classical music of| | | | |
| | |violin is playing in the background. There is no Diegetic| | | | |
| | |sound. Perspective shot looking up at a tower, with the | | | | |
| | |knight figure in the foreground. Hair billows down, and | | | | |
| | |the figure climbs up the tower. The male-hate-wearing | | | | |
| | |figure is unhappy (frowns) when he reaches the top, and | | | | |
| | |on the way up to the window that her hair is hanging | | | | |
| | |from, he uses scissors to cut vines. The knight, now not | | | | |
| | |in a cloak as before, (or maybe they are two seperate | | | | |
| | |characters? stands below the tower and waves his sword | | | | |
| | |phallicly. He waves to Rapunzel and tries to climb, but | | | | |
| | |falls. She lets her hair down, but he falls again. | | | | |
| | |Rapunzel: is he dead? (look). There is no sound other | | | | |
| | |than music. Rapunzel is angry at the knight's ineptitude | | | | |
| | |and pulls him up the tower while he hangs from the bottom| | | | |
| | |of her hair. knight: horrified look: he seses a bunch of | | | | |
| | |court-folk wielding sowards and practicing with them. | | | | |
| | |Rapunzel opens a door and walks out with the first person| | | | |
| | |who appeared on the screen: a boyish male figure playing | | | | |
| | |the lute, spurning the constantly posing and somewhat | | | | |
| | |naive knight figure. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Animation and Direction by Jackie Ross | | | | |
| | | | | | | |
| | |Music by Gunnar Proppe | | | | |
| | | | | | | |
| | |Special Thanks: | | | | |
| | | | | | | |
| | |Marge Brown | | | | |
| | | | | | | |
| | |Jules Engel | | | | |
| | | | | | | |
| | |Darren Shaw | | | | |
| | | | | | | |
| | |Stephen Lawes | | | | |
| | | | | | | |
| | |The Ross Family | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Additional Thanks: | | | | |
| | | | | | | |
| | |Phil and Cathy Martin | | | | |
| | | | | | | |
| | |Ahmanson Completion Fund | | | | |
| | | | | | | |
| | |Michael Artin | | | | |
| | | | | | | |
| | |Christine Panushka | | | | |
| | | | | | | |
| | |Maureen Selwood | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Copywrite 1995 | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |09:11 | | | | |
| | | | | | | |
| | |"The Exquisite Corpse" | | | | |
| | | | | | | |
| | |Push in on flowers. Push in on Sand. Pixilation of hands | | | | |
| | |wearing skeleton gloves, reveal title "The Exquisite | | | | |
| | |Corpse." Things happening in an eyeball reflection: a man| | | | |
| | |walking along ground. A girl dreaming: looks out her | | | | |
| | |window into crazy lines. Guy in strecher falling upwards | | | | |
| | |from a tall building. Childhood photos from a beach. 2D | | | | |
| | |Cutout animation of a hand picking up tarrot cards "El | | | | |
| | |Mundo". The hand is bloody. A basket case torso. Crayon | | | | |
| | |animation of childlike drawings, some resembling Elmo | | | | |
| | |from Ssesame Street. 2D animation of black/white leaves .| | | | |
| | |A skeleton dog has something thrown for him by a Skeleton| | | | |
| | |master, He leaps and is chewed up. Two form-figures have | | | | |
| | |sex, and then the guy goes inside of the woman and they | | | | |
| | |explode. An IV pumpss liquid into a wrinkled arm, which | | | | |
| | |morphises into a crazy multicolored figure. An anime | | | | |
| | |character stands still while shapes swirl around him. | | | | |
| | |Goblin figures perch on a man's shoulder and rip out his | | | | |
| | |heart, he cannot push them off. Conventional cartoon | | | | |
| | |animationof two figures. The sound consists of various | | | | |
| | |diagetic sounds like crying, whhistling, environmental | | | | |
| | |sounds, but nothing with semantic language content. It is| | | | |
| | |all quite surreal! It ends in a graveyard. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Credits: | | | | |
| | | | | | | |
| | |Lorelei Pepi | | | | |
| | | | | | | |
| | |Idana Rodriguez | | | | |
| | | | | | | |
| | |Miriam Yagi | | | | |
| | | | | | | |
| | |Hellen Hill | | | | |
| | | | | | | |
| | |Lourdes Villagomez | | | | |
| | | | | | | |
| | |Cristin G.? | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Chris Merienn | | | | |
| | | | | | | |
| | |Shelly Wattenbarger | | | | |
| | | | | | | |
| | |Erin Coreoff | | | | |
| | | | | | | |
| | |Daphna Lapidof | | | | |
| | | | | | | |
| | |Darren Shaw | | | | |
| | | | | | | |
| | |Martin Ontinaas?? | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Keith Henderson | | | | |
| | | | | | | |
| | |Srfn Klrwn Mlnr | | | | |
| | | | | | | |
| | |Anthony Garrett | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Nicholas Kozis | | | | |
| | | | | | | |
| | |Maureen Selwood | | | | |
| | | | | | | |
| | |Eric Patrick | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Kathleen Iannacone | | | | |
| | | | | | | |
| | |Kip Lewis | | | | |
| | | | | | | |
| | |Rachel E. Coleen?? | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |K. Hee Oh | | | | |
| | | | | | | |
| | |Hirashi Mori | | | | |
| | | | | | | |
| | |Adam Lane | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Jorge Ramirez | | | | |
| | | | | | | |
| | |Title Sequence: Lorelei Pepi and Crew | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Directed and Produced by Lorelei Pepi | | | | |
| | | | | | | |
| | |Co-Producer: Eric Patrick | | | | |
| | | | | | | |
| | |Sound Creation and Mix: Fausto Caceres | | | | |
| | | | | | | |
| | |Special Thanks to Maureen Selwood and everone who bent | | | | |
| | |over backwards to help out. | | | | |
| | | | | | | |
| | |Partial funding from the Ahmanson Grant | | | | |
| | | | | | | |
| | |Made at Cal Arts 1995 | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |16:52 | | | | |
| | | | | | | |
| | |Sharon Wu "Them" | | | | |
| | | | | | | |
| | |Pixilation on 16mm film of a glasses-wearing male figure | | | | |
| | |and what appears to be a female figure fighting. | | | | |
| | |Implication of fighting or struggle from audio audio of | | | | |
| | |two voices spseaking nonsensival noise. Soon it | | | | |
| | |transitions into laughing. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |18:10 | | | | |
| | | | | | | |
| | |Ruth Hayes "Reign of the Dog" | | | | |
| | | | | | | |
| | |A picture of DaVinci's stretched out man, transitions | | | | |
| | |into Jesus on the cross, he tears hihmself off of the | | | | |
| | |page and transfsorms himself into a dog. Latin Text | | | | |
| | |"Aluwus Oceana"? A pinning globe in circular matte. A | | | | |
| | |animated sasilboat bounces along as iff riding along the | | | | |
| | |oceans. An angry face of weather blows wind accross the | | | | |
| | |boat. | | | | |
| | | | | | | |
| | |"Never againmay mortal hope to recapture the amazement | | | | |
| | |wonder the delight of those october days ..." Animation: | | | | |
| | |old world spanish night holding waving flag. A dog | | | | |
| | |scratching on a map next to asia. "Mundus Novus. | | | | |
| | |Transforming mapps of the new world. "Terra INncenita". | | | | |
| | |"Oceanus Occidentalis." AMerica. Dog pees on Palas | | | | |
| | |Islands Isabella. Dog Scratches sitting on south america.| | | | |
| | |The world was not round, but pearl-shaped, except where | | | | |
| | |it had a nipple. A dog looks upwards at a tree, with a | | | | |
| | |butterfly floating downwards, and looks towards the | | | | |
| | |reprised sasilboat, the ant-eater slurpsss it up. Partial| | | | |
| | |native-looking woman in hammock. The previous naked | | | | |
| | |"spanish conquestidor" type man appears, and his dog | | | | |
| | |leaps on the ant-eater. The native-appearing woman looks | | | | |
| | |at drawing on newspaper saying "discovery of america", | | | | |
| | |and tears a hole in it. Map drawings again Orinoco Iere | | | | |
| | |Tavaco Ayay Ceyre Alliouagana, Lirhumber, Haiti, Colba, | | | | |
| | |Guianahani. (more). The angry looking dog diggs at the | | | | |
| | |islands on the giant map, and is stabbed by a native | | | | |
| | |warrior. They fight. Grr, woof! The dog kills the warrior| | | | |
| | |and eats his stomach. The female native throws a spear | | | | |
| | |and kills the dog, who doesn't die, but is just more | | | | |
| | |angry. The dog (now on the map) tears a hole through the | | | | |
| | |panhandle between north and south america, and then leaps| | | | |
| | |towards the camera. Natives sit in flickering firelight | | | | |
| | |darkness. A buffalo runs by. Presidents heads are carved | | | | |
| | |into a stone cliff. Homeless appearing people warm hands | | | | |
| | |over an open fire. There is a very interesting style of | | | | |
| | |searchlight-reveal animation going on, where objects and | | | | |
| | |events are being revealed in a flickering sort of | | | | |
| | |montage. "Perlman writes 'The freeing of this continent | | | | |
| | |generates enough ghosts to populate a universe.'" The | | | | |
| | |girl in the hammock is now a featureless naked corpse. | | | | |
| | |The dog is still alive, coughing at the ground, growing | | | | |
| | |stsrange tumors under its skin, finally gagging, | | | | |
| | |revealing hands of multiple colors reaching out | | | | |
| | |desperately. amazing! | | | | |
| | | | | | | |
| | |Credits: | | | | |
| | | | | | | |
| | |Directed and Animated by Ruth Hayes | | | | |
| | | | | | | |
| | |Assisting Artists: | | | | |
| | | | | | | |
| | |Sheila Sofian | | | | |
| | | | | | | |
| | |Tamiko Murai | | | | |
| | | | | | | |
| | |Susan Wilson | | | | |
| | | | | | | |
| | |Blue Hadaegh | | | | |
| | | | | | | |
| | |Steve Belfer | | | | |
| | | | | | | |
| | |Leslie Ernst | | | | |
| | | | | | | |
| | |Googe | | | | |
| | | | | | | |
| | |Lisa Mann | | | | |
| | | | | | | |
| | |Drew King | | | | |
| | | | | | | |
| | |Bill Moritz | | | | |
| | | | | | | |
| | |Bill Lebeda | | | | |
| | | | | | | |
| | |Jane Ann Dill | | | | |
| | | | | | | |
| | |Chuleenan Svetvilas | | | | |
| | | | | | | |
| | |Grace Gorelick | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Soundtrack composed by Kasandra Woodring. | | | | |
| | | | | | | |
| | |Recorded and Mixed by John Hawk | | | | |
| | | | | | | |
| | |Sources Quoted: | | | | |
| | | | | | | |
| | |Samuel Elliot Morson: _Admiral of the Ocean Seas, Little,| | | | |
| | |Brown & Co. | | | | |
| | | | | | | |
| | |Christopher Columbus, Letter from his Fourth Voyage. | | | | |
| | | | | | | |
| | |Fredy Perlman, _Against History, Against Leviathan_, | | | | |
| | |Black and Red. | | | | |
| | | | | | | |
| | |Thanks to: | | | | |
| | | | | | | |
| | |Jules Engel, Christine Panushska, Michael Cho, Juan | | | | |
| | |Cordova, Betzy Bromberg, Maureen Selwood, Vibeke | | | | |
| | |Sorenson, Bill Moritz, Christine Ferriter, Will Guy, | | | | |
| | |Jackie Ross, Cindy Feyrer, Sarah Enroth, Steve | | | | |
| | |Hillenburg, Ray Rodgers, Daniel Veneciano, Robert Mann & | | | | |
| | |Donald Cook Attorneys at Law. | | | | |
| | | | | | | |
| | |Special Thanks to Terry Tennesen, Tennesen Ani-Works. | | | | |
| | | | | | | |
| | |Funded in part by the U.S. Department of Education, the | | | | |
| | |Seattle Arts Commission Seattle Artists, 1993-1994 Visual| | | | |
| | |Arts Program, and an Eastman Kodak film grant. | | | | |
| | | | | | | |
| | |Produced in the Department of Experimental Animation, | | | | |
| | |California Institute of the Arts and Random Motion, | | | | |
| | |Seattle. | | | | |
| | | | | | | |
| | |A Random Motion Film Copyright 1994 by Ruth Hayes | | | | |
| | | | | | | |
| | |Copyright 1994 at Cal Arts | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |34:05 | | | | |
| | | | | | | |
| | |Jorge Ramirez "Loteria" | | | | |
| | | | | | | |
| | |"un film de Jorge"." 2D animation, a pan of a city wit | | | | |
| | |hills covered in crossess above. Camera goesinto a place | | | | |
| | |labelled "bar". Inside there are characters in 2D cutout | | | | |
| | |animation of a devil-like figure, a skeletron | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |35:37 | | | | |
| | | | | | | |
| | |Debra Callabresi "Quilted by Hand" | | | | |
| | | | | | | |
| | |Mandolin music, evolving into voiceover of the history of| | | | |
| | |the narrator'ssgranmother. 2D animation of hand milking a| | | | |
| | |cow's udder. A hand carries a handled object against a | | | | |
| | |dark quilt-like pattern in the background. 2Dlayered | | | | |
| | |animation of a farm, with farm-house in th ebackground. | | | | |
| | |The hand rolls dough, the dough has a quilt-like pattern | | | | |
| | |as texture. "one year it rained so much...": animation of| | | | |
| | |waterflooding through the field in front of the house. | | | | |
| | |Simple shapes in this style of animation. The story of | | | | |
| | |how she lost her hand in the machinery that they used to | | | | |
| | |pick corn. A pig attack! Breast cancer discovered in 1966| | | | |
| | |in the narrator's grandmother. She died in 1992 of the | | | | |
| | |cancer. Slow progressive pull-out at the end revealing a | | | | |
| | |patchwork quilt imitation of her grandmother's face. | | | | |
| | | | | | | |
| | |There are titles interspliced in the piece that link | | | | |
| | |together into one sentence. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |In the memory of Josephine Callabresi. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |46:03 | | | | |
| | | | | | | |
| | |Brian Midkiff "Slik Willy" | | | | |
| | | | | | | |
| | |Animation of a motor wheel-cog device. British Accent | | | | |
| | |narrator VO: Slick Willie pumping device? This film isa | | | | |
| | |tribute to the spirit of Very interesting synched | | | | |
| | |abstract shapes moving to the rhythm of train-like | | | | |
| | |sounds. Abstract lines form faux-3D shapes, and blocks | | | | |
| | |and triangles float around asif they are a causing the | | | | |
| | |train-like sounds. This is an interesting example of the | | | | |
| | |synchronization of sosund and image with sounds that the | | | | |
| | |objects aren't thought to produce causing a | | | | |
| | |recontextualization of expecatation and produces | | | | |
| | |something very novel. The abstract shapes have gained | | | | |
| | |tecture and evolved into an image of a metalic surface of| | | | |
| | |an engine. He was told the story of Slick Willy by a hobo| | | | |
| | |at a motor he found in the field. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |51:55 | | | | |
| | | | | | | |
| | |William Lebeda "The Shark's Fin" | | | | |
| | | | | | | |
| | |Begins with a Native American-sounding chant. Now there | | | | |
| | |is a narration of a folk-tale involving "man", "woman", | | | | |
| | |"moon", and "shark". Very Chiaroscuro style 2D animation | | | | |
| | |-- black and white shapes, no intermediate color. Man and| | | | |
| | |Woman have a race with shark organized by the moon to | | | | |
| | |determine who will eat the fish (man and woman both live | | | | |
| | |in the sea. Shark cheats a tosses man and woman onto | | | | |
| | |land. Sun changes man and woman so they can live on land.| | | | |
| | |Moon changes shark to have a fin ono his back so he will | | | | |
| | |always be feared and anticipated. | | | | |
| | |2006-10-20:01 | | | | |
| | | | | | | |
| | |Tape Title: 76-08 - Academic Affairs: Academic Deans: | | | | |
| | |Faculty: Meeker & Brown | | | | |
| | | | | | | |
| | |Academic Program: Mediaworks 1996: Student Productions | | | | |
| | |Tape 3 of 3 | | | | |
| | | | | | | |
| | |01. "Tv Truth", Kim Arbios, 7:30 | | | | |
| | | | | | | |
| | |02. "Political Puppets" by Kristopher Brennon, | | | | |
| | | | | | | |
| | |03. "Death of a Rockstar", Erykah Zebe, 16:00 | | | | |
| | | | | | | |
| | |04. "Redemtion", Christopher Brown, 6:00 | | | | |
| | | | | | | |
| | |05. "The Space-bound Simian", Jon Albertson, 8:30 | | | | |
| | | | | | | |
| | |06. "MilkRun", Joe Mello, 6:00 | | | | |
| | | | | | | |
| | |Synopsis: This is a transfer of Tape #3 of the Mediaworks| | | | |
| | |final projects from Spring 1996. Because the first DV | | | | |
| | |tape I dubbed onto was 30 minutes, and the entire length | | | | |
| | |of the original tape was some 45 minutes, This transfer | | | | |
| | |is onto two DV tapes. They are labelled Part 1 and Part | | | | |
| | |2. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |00:00 | | | | |
| | | | | | | |
| | |Kim Arbios "Tv Truth" | | | | |
| | | | | | | |
| | |(begin: 40 econdss of color bars). 16mm Film - recorded | | | | |
| | |image of a television (apparent flicker of the | | | | |
| | |scanlines). It follows a girl walking along a street, and| | | | |
| | |up a sstairwell into a building. Now iss shown the sasme | | | | |
| | |girl in color film watching a black and white television.| | | | |
| | |Shown on the television iss a nature show - a ssnake. Now| | | | |
| | |a shopping channel commercial. Now a bob marley music | | | | |
| | |video. The soundtrack consists entirely of ambient | | | | |
| | |dijeridoo -- now there is a montage of popular television| | | | |
| | |shown on the tv (in close up shot again). Cut to the girl| | | | |
| | |female character putting on makeup, and then makeup | | | | |
| | |commercials. Now they knock the tv off the table, and the| | | | |
| | |female main character talk to her friend who is african | | | | |
| | |american (who was shown on the tv earlier), and surf | | | | |
| | |music plays; instead of watching tv, except that was | | | | |
| | |imagined. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |07:15 | | | | |
| | | | | | | |
| | |Kristopher Brennon "Political Puppets" | | | | |
| | | | | | | |
| | |Images of the flag, people reeding newspapers with | | | | |
| | |sharpied in headlines, and hats beingthrown on the floor | | | | |
| | |are intercut. Now there is a puppet figure whose point is| | | | |
| | |unknown in very dark badly defined lighting featured. Now| | | | |
| | |there is a flag burning. The puppet spsits out money. The| | | | |
| | |flag is burning in a sink, because you can see the drain.| | | | |
| | |The puppet spits out more things whose whohsse identity I| | | | |
| | |can't make out. Everything is saturated by a video smear.| | | | |
| | |There iss no audio. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |10:43 | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Song "Singin' in the Rain", 16mm footage of driving | | | | |
| | |through olympia through a rainy car window. vo: "olympia | | | | |
| | |washington, home to up and coming radicals!" 3 students | | | | |
| | |one in a wheelchair, sit in what looksss like the soup | | | | |
| | |dorm. It appears as if they are talking about personal | | | | |
| | |hihstory or sosmething. They move to attempt to awaken a | | | | |
| | |roommate. There is a predominance of bad lighting which | | | | |
| | |results in being unable to see what is happening. Now (in| | | | |
| | |the bathroom) there is their friend dead, apparently of | | | | |
| | |drinking too much iodine. On the window is written "Death| | | | |
| | |of a Rockstar". Now there is very underexposed footage of| | | | |
| | |the three friends from before walking down an olympia | | | | |
| | |street with "The Clipper" sshowing up in the background. | | | | |
| | |Now there is a series of talking head shots of each | | | | |
| | |friend, intercut with the underexposed footage of them | | | | |
| | |walking. The three friends now appear in the bar in | | | | |
| | |downtown olympia currently called "the reef". The sound | | | | |
| | |recording is such that I can hear some people talking, | | | | |
| | |but others are so quiet or muffled that I cannot make | | | | |
| | |them out. A guy comes into part of the left of the frame | | | | |
| | |and with exceedingly bad acting, attempts to "hit" on the| | | | |
| | |3 girls who term themselves rockstars. Now the girls walk| | | | |
| | |along Alleyways in Olympia. Now the girls are onstage, | | | | |
| | |except only 2 are playing instruments. Now there is a | | | | |
| | |zoom onto the waist area of the lead singer, and then a | | | | |
| | |zoom back out again, which lacked purpose. Ah, I see, all| | | | |
| | |this was a flashback. Now they take her to the hospital | | | | |
| | |or something. | | | | |
| | | | | | | |
| | |Thank to Marge Brown - Alpha | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |26:50 | | | | |
| | | | | | | |
| | |Christsoperh Brown "Redemption" | | | | |
| | | | | | | |
| | |3D stop-motion animation. 16mm film. 3 characters so far.| | | | |
| | |A man in a blue coat walking, an old man's angry | | | | |
| | |expresssion, a man at the desk. The soundtrack consists | | | | |
| | |of piano exclussively. The man in the blue coat is | | | | |
| | |talking... or rather his mouth iss moving but no sounds | | | | |
| | |are coming out of it. The man in the blue coat is | | | | |
| | |dreaming with his eyes open - a rapidly cut montage of | | | | |
| | |the other characters. The man in the blue coat wakes up, | | | | |
| | |and now there is a prominence of red lighting. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |00:00 (tape #2) | | | | |
| | | | | | | |
| | |Joe Albertson "The Space-Bound Simian" | | | | |
| | | | | | | |
| | |The sound of a projector running direct animation | | | | |
| | |through. The image of a planet - earth. Backwards speach.| | | | |
| | |Image of Jupiter. voice: "wanting to find out something | | | | |
| | |about their weather systems", Direct animation of a hole | | | | |
| | |cut out that looks like a planet. More direct animation | | | | |
| | |(or what appears to be) of a circular object with a | | | | |
| | |geometrical pattern behind. More direct animation | | | | |
| | |interspliced with found footage (?). Optical reprinter | | | | |
| | |crosssfades and transparencies. always the sound of the | | | | |
| | |projector when the direct animation is showing. More | | | | |
| | |found footage (building manufacturing". There was a brief| | | | |
| | |moment of 2D animation. The general connecting theme | | | | |
| | |between the found footage is that it is architectural and| | | | |
| | |geographical. showing technology and the land. There are | | | | |
| | |repeated images of apes also. Simian here is probably a | | | | |
| | |metaphor for the technological progress of man. | | | | |
| | |Repetition of found space footage, with section | | | | |
| | |afterwards of reversed speach. This film is particularly | | | | |
| | |compelling in its combination of direct animation and | | | | |
| | |found footage, both of which are used to a seemingly very| | | | |
| | |intentional purposes. Purposeful use of frame jittering. | | | | |
| | |at the end: monkey's in inverse color - titles in sharpie| | | | |
| | |direct animation. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |10:13 | | | | |
| | | | | | | |
| | |Joe Mello "MilkRun" | | | | |
| | | | | | | |
| | |3D animation. Clay figures without hair and made of | | | | |
| | |uniform blue clay inside of a space ship. They are | | | | |
| | |laughing and making strange noises with their mouths. | | | | |
| | |Revealed is a man and a woman naked and in a tube. The | | | | |
| | |alien-like creatures are wearing which uniforms. They | | | | |
| | |walk over to a room and reveal a bed. The two aliens play| | | | |
| | |rock paper scissors, and te loser goes to sleep. The | | | | |
| | |alien who does not sleep puts on a hat with square | | | | |
| | |television like glasses. It is tired and tries to resist | | | | |
| | |falling assleep. Then it gets up and digs through a | | | | |
| | |drawer full of the human's posessions. it finds hairspray| | | | |
| | |and likes the taste of it. A lighter is found and it | | | | |
| | |catches fire to the spaceship. The alien is sucked out | | | | |
| | |into space, and the fluid of the human-containing | | | | |
| | |canisters also. That is the end. Thanks to Marge Brown. | | | | |
| | |2006-10-20: 02 | | | | |
| | | | | | | |
| | |Tape Title: 76-08 Academic Affairs: Academic Deans: | | | | |
| | |Faculty: Meeker & Brown | | | | |
| | | | | | | |
| | |Mediaworks 1996 - Student Productions Tape 2 of 3 | | | | |
| | | | | | | |
| | |01: "Short", Joanne Manliclic, 3:00 | | | | |
| | | | | | | |
| | |02: "Interior", Brad Smith, 9:41 | | | | |
| | | | | | | |
| | |03: "Cage Deer", Christine Kennedy, 3:00 | | | | |
| | | | | | | |
| | |04: Untitled, Todd Bohannon and Jamie Souza, 10:00 | | | | |
| | | | | | | |
| | |05: "Motionless Angel", Carlo Sanchez, 14:00 | | | | |
| | | | | | | |
| | |06: "Tv Child", Stacy Handlin, 16;00 [has some glitche at| | | | |
| | |beginning] | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Synopsis: Tape 2 of 3 of the Mediaworks final projects | | | | |
| | |collection from 1995-1996. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |00:00 | | | | |
| | | | | | | |
| | |Joanne Manliclic "Short" | | | | |
| | | | | | | |
| | |Begins with a black screen and swelling classical music. | | | | |
| | |Then There is wind noise in the left channel and the | | | | |
| | |music continues in the right channel. 3D Stop-motion | | | | |
| | |animation. A character looks worried - he rubs his hands | | | | |
| | |together, and walks about. Now the storm sounds increase | | | | |
| | |in intensity, and he goes into a room with clouds and | | | | |
| | |forest footage inverted projected onto a wall. There is | | | | |
| | |an open box on the floor, which he steps into and then is| | | | |
| | |completely consumed by, pulling the lid closed with his | | | | |
| | |hand. Now there is darkness and a choir creating musical | | | | |
| | |sounds in the darkness. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |3:30 | | | | |
| | | | | | | |
| | |Bradford Smith "interior" | | | | |
| | | | | | | |
| | |Sounds of phones being dialed , a shot of a light, shoes | | | | |
| | |on carpet with a briefcase. A pot is put on a stove to | | | | |
| | |boil. Svankmajer style of fast cutting to show action. A | | | | |
| | |man eat spaghetti in a series of extremely macro shots, | | | | |
| | |with sounds of explicit chewing. Now there is a shot of a| | | | |
| | |television throwing colors onto a couch, with audio of a | | | | |
| | |colgate toothpaste commercial. Now there are images and | | | | |
| | |sounds of a shower, a person in pajamas, and teath being | | | | |
| | |brushed. Now there is a "surveilance camera" style shot | | | | |
| | |of a stop-motion 3d animated character going to sleep in | | | | |
| | |a bed. Cuts to closeups of a real persongoing to sleep on| | | | |
| | |a real bed. A person nocks on the door, and it cuts to | | | | |
| | |the overhead shot of the animated man sleeping again. Now| | | | |
| | |there is a rumble and a clanking with a shot of something| | | | |
| | |dark on the wall. The blanket has sheep on it. There are | | | | |
| | |repeated shots of a water stain on the ceiling. Now there| | | | |
| | |is a sequence of pixilation shots and a woman's face | | | | |
| | |being scrunched, which has a frenetic feel. And again, | | | | |
| | |back to the bed. A shot of an alarm clock which says | | | | |
| | |11:42. Now there is a pixilation shot of the alarm clock | | | | |
| | |that speeds up logarithmically. Thanks to Marge Brown. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |13:37 | | | | |
| | | | | | | |
| | |Christine Kennedy "Cage Deer" | | | | |
| | | | | | | |
| | |Video. There is a voiceover explaining the technological | | | | |
| | |ritual during childhood. "dream boys and girls would | | | | |
| | |dance around in perfection". Images of commercials. | | | | |
| | |"cooperation Equals Continuation". Around the edge of the| | | | |
| | |frame were discovered lost pixels, which had names. Gayle| | | | |
| | |Beck music from the Elephant man soundtrack completely | | | | |
| | |ripped off. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |17:08 | | | | |
| | | | | | | |
| | |Todd Johannon and Jamie Souza "Untitled??" | | | | |
| | | | | | | |
| | |Video? Images of a television, news commercials and | | | | |
| | |examples of sinppets from popular television. The sound | | | | |
| | |consists of a lecture about buyers and advertising and | | | | |
| | |the "mass media institution", and how it creates an | | | | |
| | |audience who is in the mood to buy. Now another voiceover| | | | |
| | |identity, explaining how news shows desire more viewers | | | | |
| | |sso that they can make more money. The picture quality is| | | | |
| | |rather bad and has been for some time. There is a large | | | | |
| | |amount of black combed bleeding over highlights. | | | | |
| | |Voiceover discussses how the saying "all the news fit to | | | | |
| | |print" relates to sensationalism in nenws media. This | | | | |
| | |style of contrasting image and sound is quite successful | | | | |
| | |at subverting ones preexisting perception regarding the | | | | |
| | |sttate of mass media. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |28: 29 | | | | |
| | | | | | | |
| | |Carlos Sanchez "Motionless Angel" | | | | |
| | | | | | | |
| | |16mm B&W + Color, Loose synch soundtrack. Sounds of rain | | | | |
| | |in a storm drain, with thunder "shohrt film by carlos | | | | |
| | |sanchez". Inverted image of a statue's face, followed by | | | | |
| | |dark images of city street lights at night. A man comes | | | | |
| | |in a door and watches television. Now he turns off the | | | | |
| | |television and goes out the door. Pixilation of a sun | | | | |
| | |rising over a lake. There is somewat electronic sounding | | | | |
| | |synthesizer music as a soundtrack. A man neels down on | | | | |
| | |the lake shore next too a pile of bird feathers, red and | | | | |
| | |white. There is a projection of clouds behind them now. | | | | |
| | |Repeated imagery of thorns on a mans head, and flickering| | | | |
| | |images of theh television, and a statue with feathered | | | | |
| | |wings in negative, and shots of forest folliage. The man | | | | |
| | |from earlier falls in a field next to a television and | | | | |
| | |the pile of feathers. Then follows a sequence of closeup | | | | |
| | |scanned images of a face, and images of television | | | | |
| | |stsatic, with electronically synthesized music. People | | | | |
| | |standing around drinking, then the recurring character | | | | |
| | |coughs blood and fall over, then follows an abstract | | | | |
| | |sesquence with television static, walking down stairs, | | | | |
| | |and a guy in front of trees hitting the camera lens. Now | | | | |
| | |there is a shot of an ocean shore with waves in clouded | | | | |
| | |direct sunlight in slow motion. and the guys face looking| | | | |
| | |up at the sun. And a longer extended shot of the | | | | |
| | |angel-statues wing against a cloudy sky, with classical | | | | |
| | |music. Intercut with film shot from an airplane. | | | | |
| | | | | | | |
| | |photographed written tided and directed by Carlos Javier | | | | |
| | |Sanchez | | | | |
| | | | | | | |
| | |Assistant: Jenniifer Alicia | | | | |
| | | | | | | |
| | |Special thanks to Marge Brown and Laurie Meeker | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |42:57 | | | | |
| | | | | | | |
| | |Stacy Handlin "T.V. Child" | | | | |
| | | | | | | |
| | |Produced, Directed, and Edited by Stacy Leanne Handlin | | | | |
| | | | | | | |
| | |Digital Video, Color. Exceedingly bad image quality at | | | | |
| | |the beginning of this, with a great deal of analogue | | | | |
| | |video warping artifacts, and static on the image. | | | | |
| | | | | | | |
| | |"a shilo production" "a documentary by stacy handlin". A | | | | |
| | |montage with a lots of kid's television shows title | | | | |
| | |screens. "a child experiences, a child learns", even with| | | | |
| | |television, says a voiceover. There is home-video footage| | | | |
| | |of two children, alternately shot in 16mm and video. | | | | |
| | |There is an interview of 'Jen, Ssingle mother of Jordyn, | | | | |
| | |Age 4", who says that television is okay for her children| | | | |
| | |because it is educational, as long as it is on PBS or | | | | |
| | |Nickolodian. Now follows a large amount of found footage | | | | |
| | |of television shows, primarily educational. ... A lot of | | | | |
| | |found footage. So much so, that I think the point is | | | | |
| | |being made that TV can in fact be educational! Now there | | | | |
| | |is a brief discussion of violence in television. The | | | | |
| | |point is being made that a child learns what a child | | | | |
| | |experiences, and children experience alot of violent | | | | |
| | |material when watching television. They claim that it is | | | | |
| | |a fact that children cannot distinguish between reality | | | | |
| | |and fantasy on television. They claim that the facts are | | | | |
| | |that children who watch more violent television are more | | | | |
| | |likely to commit violent crimes before 18, and those who | | | | |
| | |watch educational television will learn and know more. | | | | |
| | |Created for Mediaworks 1996. | | | | |
| | |2006-10-20:03 | | | | |
| | | | | | | |
| | |Tape Title: 76-08: Academic Affairs: Academic Deans: | | | | |
| | |Academic Programs: Mediaworks: Faculty: Meeker & Brown | | | | |
| | | | | | | |
| | |Tape 1 of 3 | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |01: "Monster in my Classroom", Amy Scott, 3:32 | | | | |
| | | | | | | |
| | |02: "Voices of Community", Alice Zillah, 22:00 | | | | |
| | | | | | | |
| | |03: "Gracie", Jennifer Reynolds, 11:00 | | | | |
| | | | | | | |
| | |04: "The Grinder and the Bottle", Jen Zook, 9:30 | | | | |
| | | | | | | |
| | |05: "Envelop", Ryan Adams, 6:00 | | | | |
| | | | | | | |
| | |06: "Deadline", Shelly Hannah, 5:00 | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Synopsis: This is tape number 1 of 3 of the final | | | | |
| | |projects from Mediaworks 1995-1996. The picture quality | | | | |
| | |is exceedingly bad at times, and quite watchable at other| | | | |
| | |times. Most noticably, the image flips from black and | | | | |
| | |back to the video multiple times during "Voices of | | | | |
| | |Community". This and the other two tapes are of interest | | | | |
| | |and relevance to the collection. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |00:00 | | | | |
| | | | | | | |
| | |Amy Scott "Monster in my Classroom" | | | | |
| | | | | | | |
| | |16mm Film. 3d Stop motion animation. A wireframe puppet | | | | |
| | |is sitting at a desk in a classroom, and there are | | | | |
| | |animations happening on the chalk board: flying letters, | | | | |
| | |a pixilation of a man holding a paper. The audio consists| | | | |
| | |of a voiceover of two voices, one what sounds like a | | | | |
| | |mother, and one that sounds like the daughter. There is a| | | | |
| | |moster drawn on stsyrefoam, who walks up and attacks the | | | | |
| | |childrens, and then childrens and toy vehicles run away. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |04:12 | | | | |
| | | | | | | |
| | |Toy Kay, Alice Zillah "Voices of Community" | | | | |
| | | | | | | |
| | |"Welcome to Olympia". VO says that there will be | | | | |
| | |interviews with 3 people, who have been residents of | | | | |
| | |Olympia for long enough to see changes. First interview: | | | | |
| | |with Kay's Chinese foods. They tell of difficulty and | | | | |
| | |prejudice, and hard days of work. There were difficulties| | | | |
| | |of common people not being able to tell the difference | | | | |
| | |between Chinese and Japanese, and people didn't like | | | | |
| | |Japanese at that point because they were "The Enemy". | | | | |
| | | | | | | |
| | |Note: The picture quality is exceedingly bad. There is | | | | |
| | |analogue banding (slurring of color and luminance | | | | |
| | |horizontally in combs at various high-brightness sections| | | | |
| | |of the image), and the frame is jumping a small amount | | | | |
| | |constantly, and at one point, the image cuts | | | | |
| | |intermittently to black while sound continues to play. | | | | |
| | | | | | | |
| | |Jose Valadez | | | | |
| | | | | | | |
| | |Talks about how Olympia was when he moved there from | | | | |
| | |Chicago in the early 1970s, and how there was a large | | | | |
| | |lack of Latino people in this new place. He then got | | | | |
| | |involved in the Radio Program at the Evergreen State | | | | |
| | |College. His wife was a teacher there also. | | | | |
| | | | | | | |
| | |Nat Jackson: | | | | |
| | | | | | | |
| | |Lived in Olympia since 1970 - president of Compu-Phone | | | | |
| | |communications. Grew up in northeast louisiana. Moved to | | | | |
| | |WA in search of opportunity: Tri-Cities to Olympia. | | | | |
| | |Interesting intersplicing of historical found footage of | | | | |
| | |Olympia in interview. | | | | |
| | | | | | | |
| | |Bonita Evans | | | | |
| | | | | | | |
| | |Went to old Olympia Highschool. adoped a an infant. (bad | | | | |
| | |blinking of image 20:50, on very bright scene). She talks| | | | |
| | |about the cultural discrimination against native people | | | | |
| | |with her as a child. She says it is getting better, | | | | |
| | |despite the fact that Olympia is an upper-middle-class | | | | |
| | |community and prone to that sort of discrimination. | | | | |
| | | | | | | |
| | |The credits are so destroyed by analogue signal | | | | |
| | |degredation that they can't be read. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |25:43 | | | | |
| | | | | | | |
| | |Jennifer Reynolds "Gracie" | | | | |
| | | | | | | |
| | |16mm Color film. There is an interview with an elderly | | | | |
| | |sounding woman in the audio track, and in the video track| | | | |
| | |there are many still images showed with the dirt and | | | | |
| | |hair-splotch aesthetic of 16mm film. Most likely the | | | | |
| | |still images were recordeed with film. There are a few | | | | |
| | |intermittent clips of motion 16mm film footage. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |37:03 | | | | |
| | | | | | | |
| | |Jen Zook "The Grinder and the Bottle" | | | | |
| | | | | | | |
| | |16mm B&W film. It begins with a dark underexposed image | | | | |
| | |of forest plantlife moving in the wind. A Character with | | | | |
| | |white pants stands in plants; he is accompanied by a | | | | |
| | |metal grinder, which produces music box music when he | | | | |
| | |turns the handle. ( loose-synch soundtrack. ) He | | | | |
| | |discovers an old glass bottle next, and holds it up to | | | | |
| | |the sky. The film is very noisy and scratched. The | | | | |
| | |chime-like musical soundtrack continues, and the | | | | |
| | |character proceeds to some form of workshop, where there | | | | |
| | |are a variety of close-up shots of pounding, pipes, and | | | | |
| | |construction. The character is manipulating or attempting| | | | |
| | |to repair the grinder device. Now he is putting a | | | | |
| | |light-bulb which he also found onto the grinder device. | | | | |
| | |There is an amount of optical reprinter work in this | | | | |
| | |film: slowed frame-rates, overlays (very subtle though). | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |46:30 | | | | |
| | | | | | | |
| | |Ryan Adams "Envelop" | | | | |
| | | | | | | |
| | |"Envelop" text onscreen with spoken word synched in | | | | |
| | |audio, after a zoom out from forest leaves. Now there is | | | | |
| | |a color film Dolly tracking shot of a house in the midst | | | | |
| | |of green folliage. Now there is a pull-back from a white | | | | |
| | |wall with a television and a chair, and then a push-in to| | | | |
| | |a picture on the wall, which proceeds to become animated | | | | |
| | |intermittently, with an electronic musical sosund | | | | |
| | |collage. Then the subject matter follows of a | | | | |
| | |first-person letter written in animated handwriting, | | | | |
| | |about personal recollection, signed by "Ryan".Then there | | | | |
| | |is a pull-out from the wall and another push-in to | | | | |
| | |another picture, which is then pixilated and accompanied | | | | |
| | |by a gurgling electronically synthesized soundtrack. It | | | | |
| | |sounds as though it were created in the music-technology | | | | |
| | |labs with the Buchla. Another pull-out, and a push in on | | | | |
| | |the TV, after which follows a long amount of static, with| | | | |
| | |glitchy artifacts, and underlays of tree-like folliage, | | | | |
| | |and then an underlay of an animated piece of paper | | | | |
| | |folding itself and being put into a letter. Now there is | | | | |
| | |classical baroque sounding musical soundtrack over | | | | |
| | |another letter. "Ryan Adams" "Rash Sadistic" 1996. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |56:53 | | | | |
| | | | | | | |
| | |Shelley Hannah "Deadline" | | | | |
| | | | | | | |
| | |16mm Film Color. 3d Stop Motion animation, a character | | | | |
| | |with a white bald head and a black coat is sitting at a | | | | |
| | |desk. It looks up, and there is a sequence of abstract | | | | |
| | |imagery. Now it stands up and looks at the TV, and there | | | | |
| | |is a sequence in black and white with circus music of the| | | | |
| | |character doing various things. The sound design is | | | | |
| | |lacking of a room-tone track, and so there are long | | | | |
| | |periods of silence between actions in the sound design. | | | | |
| | |Now the character goes outside with his mechanical dog | | | | |
| | |which he started like a chainsaw, and digss a hole in the| | | | |
| | |lawn. The dog looks on. Now the dog falls over dead by | | | | |
| | |the door, and twitches. Now the man pushes his desk | | | | |
| | |against the other wall. Now suddenly the film is in black| | | | |
| | |and white, and the character picks up a square object on | | | | |
| | |his desk and keeps writing. | | | | |
| | | | | | | |
| | |"Shelley Hannah" | | | | |
| | |2006-10-27:01 | | | | |
| | | | | | | |
| | |Tape Title: California Institute of the Arts | | | | |
| | | | | | | |
| | |School of Film/Video | | | | |
| | | | | | | |
| | |Showcase 1995 | | | | |
| | | | | | | |
| | |Experimental Animation | | | | |
| | | | | | | |
| | |Part 01 | | | | |
| | | | | | | |
| | |"Intro" Valerie Pip Johnson (1:00) | | | | |
| | | | | | | |
| | |"Blue Tie" Michael Levine (2:10) | | | | |
| | | | | | | |
| | |"Adzo" Matthew M. Hauser (2:38) | | | | |
| | | | | | | |
| | |"The Open Heart of Lazarus" Cloritina Cocina (5:57) | | | | |
| | | | | | | |
| | |"Lethal" John Pirillo (5:10) | | | | |
| | | | | | | |
| | |"The No Event Horizon" Stacey Goodman (5:30) | | | | |
| | | | | | | |
| | |"Untold Truths" Kellylynn Moren (15:00) | | | | |
| | | | | | | |
| | |"Breaktime" Jennifer Walsh (1:00) | | | | |
| | | | | | | |
| | |"Charivari" Douglas Vitarelli (4:00) | | | | |
| | | | | | | |
| | |"Wanting" Yueh-hsun Lee (?:??) | | | | |
| | | | | | | |
| | |"U235" Jonas Morganstein (1:40) | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Synopsis: This is tape number one of the California | | | | |
| | |Institute of the Arts experimental animation showcase. It| | | | |
| | |contains some quite interesting and carefully constructed| | | | |
| | |animation that is relevent to the collection for this | | | | |
| | |reason, but perhaps less-so for relevance to the | | | | |
| | |Evergreen State College and its students and faculty. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |00:27 | | | | |
| | | | | | | |
| | |Valerie Pip Johnson "Intro" | | | | |
| | | | | | | |
| | |Folkish sounding mexican music over color animation of a | | | | |
| | |dog in a birthday hat. Goerge and mary ibooner? fund for | | | | |
| | |advancement? Naomi Uman. judy schwabacher. There is a | | | | |
| | |surf music musical track, upbeat, and a super-stylized | | | | |
| | |countdown with bunny-head and many flashes of different | | | | |
| | |things. Then there is a different musical style, and jump| | | | |
| | |cuts of a stsubbly man's face and mouth. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |01:27 | | | | |
| | | | | | | |
| | |Michael Levine "Blue Tie" | | | | |
| | | | | | | |
| | |Now, it is as if the actual piece starts. It appears to | | | | |
| | |be a city street, rendered in 3D Digital animation. There| | | | |
| | |are sounds of people marchin in synch, and there are | | | | |
| | |polygonal people with tv-static for skin, and blue and | | | | |
| | |pink ties. All are carrying briefcases, and wearing hats.| | | | |
| | |Now one of these people wearing a blue tie is left alone | | | | |
| | |in the streetand the camera zooms out. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |05:20 | | | | |
| | | | | | | |
| | |Matthew Hauzer "Adzo" | | | | |
| | | | | | | |
| | |There is rhythmic drum music, and 2 stick-figure | | | | |
| | |characters dancing to the music. Interesting interacting | | | | |
| | |in the rhythm of their movements and the polyrhythmic | | | | |
| | |interactions of the different percussive instruments. | | | | |
| | |After a couple repetitions of their dance moves, the | | | | |
| | |dancers get closer to the screen, and become giant white | | | | |
| | |lines, and then dissapear behind the virtual camera. | | | | |
| | | | | | | |
| | |Animation and music by Matthew Hauser. Special thanxs to | | | | |
| | |Jules Engel, Alfred Ladzekpo, Kobla Ladzekpo, Dzidzogbe | | | | |
| | |Lawluvi, Pip Johnson, Tardu Yegin. Random Flicker, Kevin | | | | |
| | |O'Sullivan, Monica Brocks. Copyright 1994, CalArts. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |08:06 | | | | |
| | | | | | | |
| | |Cloritina Cocina "The Open Heart of Lazarus" | | | | |
| | | | | | | |
| | |Appears to be shot primarily on film. Pixilation of a | | | | |
| | |naked man in bed with a crazily moving sheet. There are | | | | |
| | |cutaways to possibly what he is dreaming: "a dance party | | | | |
| | |with cuban salsa music intercut with raw meat on a table | | | | |
| | |with fancy dressing. Cutaway of a hand squishsing a heart| | | | |
| | |made of clay. The hewart in different forms is recurring | | | | |
| | |imagery. Also there are flashbacks, or memories or dreams| | | | |
| | |of little girls in winged costumes. | | | | |
| | | | | | | |
| | |Credits: A film by Cloritina Cocina | | | | |
| | | | | | | |
| | |Original Composition by Asdrubal Sierra | | | | |
| | | | | | | |
| | |Arrangement by Carlos Luna | | | | |
| | | | | | | |
| | |Performed by | | | | |
| | | | | | | |
| | |The calarts latin ensesmble | | | | |
| | | | | | | |
| | |under the direction of | | | | |
| | | | | | | |
| | |David Roitstein | | | | |
| | | | | | | |
| | |Sound Engineer | | | | |
| | | | | | | |
| | |Rafaelo Mazza | | | | |
| | | | | | | |
| | |Engineered at the Rondor Studios Beverly Hills | | | | |
| | | | | | | |
| | |Director of Photography | | | | |
| | | | | | | |
| | |John Campbell | | | | |
| | | | | | | |
| | |Camera Operator | | | | |
| | | | | | | |
| | |John Campbell | | | | |
| | | | | | | |
| | |Patrick Spaulding | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Partial funding provided by a generou grant from the | | | | |
| | |ahmanson project completion grant. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |13:57 | | | | |
| | | | | | | |
| | |"Lethal" John Pirillo | | | | |
| | | | | | | |
| | |Sounds of birds, and somewhat psychedelic appearcing | | | | |
| | |imagery new light enterprises productions. Presents. | | | | |
| | |(starfield and fancy though very early 90s computer | | | | |
| | |animation appearing text.) LETHAL. Abstract generated | | | | |
| | |imagery, of abstract almost mathematical shapes. Pauing | | | | |
| | |and warping computer generated hapes. Looks very low | | | | |
| | |resolution by today's standards. There is a slightly | | | | |
| | |ambient slightly melodic chime-like musical soundtrack, | | | | |
| | |which seems to be generated digitally also. Now the | | | | |
| | |imagery returns to being a starfield. | | | | |
| | | | | | | |
| | |Animation and music by John Pirillo. | | | | |
| | | | | | | |
| | |Thank You: "God, Alla, Mom, Hrankie, Faith, Jules, | | | | |
| | |Maureen, Holly, Christine, Reeangela, Millie, Jean, | | | | |
| | |Amanda, Lyndon, Chondra, Shinley, Duniel, and the Angels | | | | |
| | |who love us so we I" Copyright 1994. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |19:07 | | | | |
| | | | | | | |
| | |Stacey Goodman "The No Event Horizon" | | | | |
| | | | | | | |
| | |Ambient noise starts it out, and then imagery of | | | | |
| | |newspapers piled on top of each other panning by the | | | | |
| | |screen. 3D digital generated imagery of a man' face, with| | | | |
| | |hair coming out of his eyeballs. title "The no event | | | | |
| | |horizon". Composited animation: a boat-like structure in | | | | |
| | |front of a painting of a man from the 1800s, possibly | | | | |
| | |magellan. Turns into a space ship tumbling away from | | | | |
| | |jupiter towards earth. Sound turns into a clock ticking. | | | | |
| | |There is an eyeball on the end of the tentacle coming out| | | | |
| | |of the spaceship structure. There is a cutaway to a | | | | |
| | |structure generated 3d on earth (?) with a lantern | | | | |
| | |blowing in the wind. A bowl and spoon tumble out of the | | | | |
| | |sky. The spaceship eye continues to look on. It has a | | | | |
| | |geometrical pattern embedded in its face. The bowl and | | | | |
| | |spoon lands in the man's hands who has hairy eyeballs. | | | | |
| | |Text The lives of illustrious men of the 13th century. | | | | |
| | | | | | | |
| | |Special thanks to family and friends and the work of | | | | |
| | |Phillip K. Dick | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |24:40 | | | | |
| | | | | | | |
| | |Kellylyn Moren "Untold Truths" | | | | |
| | | | | | | |
| | |16mm (?) film, silent, B&W. Film of sheets blowing in the| | | | |
| | |wind. Voiceover narration | | | | |
| | | | | | | |
| | |"3 months ago another stain another trip to the | | | | |
| | |hospital". Subject matter of voiceover detailing blood | | | | |
| | |intoa toilete bowl, 6 months into a pregnancy. Imagery of| | | | |
| | |dogs fighting. Bassy drums pounding. A poem onscreen. She| | | | |
| | |goes to the doctor, and get rabbit tests. Doctors want to| | | | |
| | |give her an assisted abortion? The memory of the stain | | | | |
| | |has faded 3 months ago with the red. Imagery: many naked | | | | |
| | |women squatting, with ssand being poured out of the | | | | |
| | |darkness above. 3 doctors present for the birth. The | | | | |
| | |doctors prepare an injection for to give her immediately | | | | |
| | |following birth, because they think she will be | | | | |
| | |distraught. The story of a husband who constructed a | | | | |
| | |chastity belt with no openings. (preceeded by image of a | | | | |
| | |key. imagery: a woman constructing some form of furniture| | | | |
| | |with power tools. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |"menstruation is the uterus crying for the lack of a | | | | |
| | |baby" - Anonymous. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Imagery: icepick hitting ice. Narration: She has the | | | | |
| | |baby. The baby is "a little small", and put in an | | | | |
| | |incubator. imagery: cracking ice. "The Image" exists in | | | | |
| | |her mind, fluid gruesome abstraction. There are questions| | | | |
| | |about the sexuality of the baby. "woman have ovaries, | | | | |
| | |babies have internal organs." imagery of a hairy armpit | | | | |
| | |being changed, while narration of a female with a red | | | | |
| | |beard who transformss into a male and is given a new | | | | |
| | |name. (contradiction). Imagery: a hand going in and out | | | | |
| | |of shadow, a needle visible, sewing. She asks if the | | | | |
| | |child is a girl or a boy, and the question hangs in the | | | | |
| | |air of "both, or neither?" | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |40:04 | | | | |
| | | | | | | |
| | |"Breaktime" | | | | |
| | | | | | | |
| | |2D drawn animation, color, or a happy baby eating a donut| | | | |
| | |after dipping it in coffee. The hand of god (or someone) | | | | |
| | |reaches down, and the donut is transformed into a halo. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |41:15 | | | | |
| | | | | | | |
| | |Douglas Vitarelli "Charivari" | | | | |
| | | | | | | |
| | |Human figure with many muslcles is drawn doing slow poses| | | | |
| | |of a yogic or gymnastic sort. black background, the | | | | |
| | |chharacters are dark blue and not prominent. Rhythmic | | | | |
| | |music accompanies their antics. Now there is a slow pan | | | | |
| | |of multiple characters looking at each other, as panning | | | | |
| | |to the right happens. Now they are forming a human | | | | |
| | |triangle stack of people. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |45:20 | | | | |
| | | | | | | |
| | |Yueh-hsun Lee "Wanting" | | | | |
| | | | | | | |
| | |2D drawn animation of a blue house, and inside, a human | | | | |
| | |figure lighting a wall of candles. The figure holds up a | | | | |
| | |skull. Later, the figure puts a amask back on his face, | | | | |
| | |and looks in a hand mirror. 2D cutout animation of a | | | | |
| | |ninja-like character with sstuff in a sack of unknown | | | | |
| | |origin. The candles have fallen down! things are burning!| | | | |
| | |The main robed character runs outside and pants, thankful| | | | |
| | |to be alive, but then realizes that his mask is still | | | | |
| | |inside in the flames! So he runs back inside, while the | | | | |
| | |house burns. | | | | |
| | | | | | | |
| | |Music: Fernando Ariani | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |50:23 | | | | |
| | | | | | | |
| | |Jonas Morganstein "U235" | | | | |
| | | | | | | |
| | |Electronic music soundtrack. 2 dots orbitting another | | | | |
| | |dot, with scrolling text on the bottom of the screen, | | | | |
| | |that is cut off by title/action safe. This evolves into a| | | | |
| | |electron-attraction magnetic field, and zooming out | | | | |
| | |happens while the electro-field evolves until a piece of | | | | |
| | |wood with grains is revealed. The soundtrack music | | | | |
| | |resembles techno-dance-party music almost. Now the | | | | |
| | |orbitting dots are in color. Sound: Ron D. Core, DJ Spinn| | | | |
| | |and Brian G. | | | | |
| | |2006-11-03:01 | | | | |
| | | | | | | |
| | |Tape Title: Mediaworks 1997 | | | | |
| | | | | | | |
| | |Sketch Journals for Both Seminars | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Synopsis: A short tape compilation of the sketch journal | | | | |
| | |assigments of students in Mediaworks 1997-1998. Only some| | | | |
| | |projects are labelled with titles and authors names. | | | | |
| | |Between those that aren't, it is difficult to tell where | | | | |
| | |one begins and another ends. My descriptions are thus | | | | |
| | |quite haphazard, but possibly still of use. I wrote down | | | | |
| | |any information I saw and timecodes of when I saw it. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |00:46 | | | | |
| | | | | | | |
| | |"buy it for the filling. " abstract 2d drawn pictures - | | | | |
| | |not really anmimation, just pictures played back one | | | | |
| | |after the other. many images without apparent thematic | | | | |
| | |linkage. game over! Now there is some animations of a | | | | |
| | |monkey 02:24. Things go by super quick. | | | | |
| | | | | | | |
| | |Quenby moon. "Ruth Gregory Mediaworks student changes | | | | |
| | |everything" "brains go splat trust no one". "eyeball on | | | | |
| | |the run" running eyeball animation. 5:18 | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Gillian Duff 5:49. "under the fiver you will find theh | | | | |
| | |body of someone who buried me there" 7:30. | | | | |
| | | | | | | |
| | |Todd Smith Mediaworks 8:03 (flashed for a couple frames) | | | | |
| | | | | | | |
| | |Josh Knisely 8:30. | | | | |
| | | | | | | |
| | |Michael Getz 9:07 (animation of a naked man in a desert | | | | |
| | |slapping his belly with his penis). tommy jeens a | | | | |
| | |declaration of independance eek gads 10:03. | | | | |
| | | | | | | |
| | |Jim Guerci 12:05. 2d drawn animation 12:34 Jim Gueruci | | | | |
| | | | | | | |
| | |13:12 "Linda" 2d drawn animation with crand a turtle | | | | |
| | |slinky images. 14:37 - frame flipping from black to image| | | | |
| | |is rather bad. tape artifact? 16:30 - frame flipping even| | | | |
| | |worse -- exceedingly bad. | | | | |
| | | | | | | |
| | |16:56 sarah sharp | | | | |
| | | | | | | |
| | |18:08 John Paul | | | | |
| | | | | | | |
| | |matth williamson films 19:40 | | | | |
| | | | | | | |
| | |"sketch journal" 21:20 James -- Gamble. | | | | |
| | | | | | | |
| | |22:51 - end? Past the end of the recorded "Sketch | | | | |
| | |Journal" anmimations, Tere is video of a man talking | | | | |
| | |about catfish in a petstore. Looks like some form of | | | | |
| | |educationall video. "Aquatic Maestro". | | | | |
| | |2006-11-03:02 | | | | |
| | | | | | | |
| | |Tape Title: Mediaworks Tape #1 | | | | |
| | | | | | | |
| | |Tape #1 Intro Slate | | | | |
| | | | | | | |
| | |Fava - Laura Franklund | | | | |
| | | | | | | |
| | |Semi-Proffessional Planets - Forrest Martin | | | | |
| | | | | | | |
| | |No Whistlin' - Jamala Henderson | | | | |
| | | | | | | |
| | |Riptide - Erik Uppenburg - Croone | | | | |
| | | | | | | |
| | |A Backward Civilization - Mirium Howard | | | | |
| | | | | | | |
| | |A Eulogy - Becky Nelsons | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Synopsis: This is tape #1 of the final projects from | | | | |
| | |Mediaworks 1997-1998. The image quality is slightly bad | | | | |
| | |in places, having frame-flipping to black, and jittery | | | | |
| | |images. Of interest to the collection however, as it | | | | |
| | |contains some quite interesting student work from the | | | | |
| | |Mediaworks program in 1998. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |00:00 | | | | |
| | | | | | | |
| | |Countdown with "the evergreen state college" graphic. | | | | |
| | |"Mediaworks 97-98". | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |00:50 | | | | |
| | | | | | | |
| | |"An animation experiment by Laura Franklund". "Fava" | | | | |
| | |begins. The sounds of water, a vacuum cleaner, then | | | | |
| | |evolving into a flute sosund, with continued water | | | | |
| | |aesthetic. This is a 2d drawn animation, with a rather | | | | |
| | |nice soundtrack. Ruth Hayes and Sally Cloninger. C 1998 | | | | |
| | |Stump Productions. Ends with image of a plant | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |03:23 | | | | |
| | | | | | | |
| | |"Semi-Proffessional Planets". 2d animation - drawn. | | | | |
| | |video. inverted, so lines are white. very tall skinny | | | | |
| | |human forms falling towards a planet surface. Definition | | | | |
| | |of the word "Planetary". Special thanks. Evergreen state | | | | |
| | |college media facilities. Marge brown and theh lab aides.| | | | |
| | |dawn rhett heidi leo. emy fehmi... ?? ruth hayes and | | | | |
| | |sally cloninger hihra ..?? forde labs, despite decision | | | | |
| | |to work in video. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |07:30 | | | | |
| | | | | | | |
| | |"No Whistlin'" Jamala Henderson. | | | | |
| | | | | | | |
| | |2d animation, with painted textures. It isn't really an | | | | |
| | |animation, more a succession of still images, stuck | | | | |
| | |together with voiceover narration describing the | | | | |
| | |experience of a child being forbidden to whistle by her | | | | |
| | |grandfather. The image quality is very bad. frame | | | | |
| | |flipping, and jitter. Thanks: Ruth Hayes, Raul Berman, | | | | |
| | |Peter Randlette. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |13:30 | | | | |
| | | | | | | |
| | |"Riptide" Erik Uppenburg | | | | |
| | | | | | | |
| | |Image of a band playing, cropped and small surrounded by | | | | |
| | |black, subtitles describing hohw Frequency DB is a good | | | | |
| | |band. Images of a wave, and surfing, and mussic (perhaps | | | | |
| | |of the described band?). Very 16mm aesthetic, with light | | | | |
| | |leaks, flash frames, inverted images, sprocket holes, and| | | | |
| | |frame jitter. It's pretty much a music video up until | | | | |
| | |17:15. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |17:30 | | | | |
| | | | | | | |
| | |"Backwards Civilization" Miriam Howard | | | | |
| | | | | | | |
| | |Sound film - instructional. 50s educational video style. | | | | |
| | |50s omniscient male narrative voice: "Americans being a | | | | |
| | |backward and primitive people. ... A couple makes | | | | |
| | |arrangements of marriage". The couple reaches their | | | | |
| | |island destination. images characteristic of paradise. | | | | |
| | |Then the honeymoon ends: The man and the woman both have | | | | |
| | |to work. descriptions of the differences in | | | | |
| | |responsibility between man and woman - "woman's task | | | | |
| | |always menial and never ending". cleaning up, making | | | | |
| | |breakfast. man's time has idleness, description of nature| | | | |
| | |of relationship with Television. | | | | |
| | | | | | | |
| | |"True untrue always never love hate". Ends with | | | | |
| | |pixilation: spinning camera around the couple kissing, | | | | |
| | |and then the man walking along the streets. | | | | |
| | | | | | | |
| | |Narrated by David Butler. C 1998 | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |24:28 | | | | |
| | | | | | | |
| | |"A Eulogy" Becky Nelson | | | | |
| | | | | | | |
| | |Highly reverbed voiceover, image of a woman in chains and| | | | |
| | |makeup behind a chainlink fence. Voiceover content | | | | |
| | |containing words punishment and fear - possible images of| | | | |
| | |prisoners (or at least that implication). Image of a | | | | |
| | |"christlike" figure laying upon the ground. Words about | | | | |
| | |forgiveness. Images of a train, and sounds of seagulls | | | | |
| | |overlaid over the constant and barely intelligible | | | | |
| | |oration. | | | | |
| | |2006-11-10:01 | | | | |
| | | | | | | |
| | |Tape Title: Mediaworks Fall 95 Scratch / Direct | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Synopsis: 25 minutes of direct animation from the | | | | |
| | |1995-1996 Mediaworks Program. There are no titles of | | | | |
| | |works, or authors names to be seen, and the only way of | | | | |
| | |telling projects apart is to guess at where one stops and| | | | |
| | |te next begins, based on blank space between sections, or| | | | |
| | |subject matter or visual style. Contained on this tape | | | | |
| | |are some very interesting and stylistically advanced | | | | |
| | |examples of direct animation technique, both of an | | | | |
| | |abstract sort, and of a "scratch on found footage" type. | | | | |
| | |Quite relevent to the collection. I marked the points in | | | | |
| | |time that I percieved to be divisions between projects, | | | | |
| | |as best as I could. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |00:00 | | | | |
| | | | | | | |
| | |Flashes of direct animation on 16mm film - a star, an | | | | |
| | |airplane, abstract textures. There is no names of authors| | | | |
| | |or titles of pieces. 01:35 undulating textures. 2:18 - | | | | |
| | |8mm taped onto the frame. 3:05 - paint on film3:40 | | | | |
| | |"mexican women". direct animation with overlayed | | | | |
| | |handdrawn animation. 4:11 scratch over commercial film. | | | | |
| | | | | | | |
| | |6:40 copywrite 1995 7:27 "the end". Direct animation over| | | | |
| | |flipper movie. 09:19 | | | | |
| | | | | | | |
| | |19:32 flashes of images, interspersed with black. 10:50 | | | | |
| | |sharpie animation. 12:42 black space, between projects? | | | | |
| | | | | | | |
| | |16:20 red white blue flasshing with curtain style direct | | | | |
| | |animation pulsating. | | | | |
| | | | | | | |
| | |17:05 rectangle spinning in 3 dimensional appearance. | | | | |
| | |followed by a red ball bouncing around the screen. | | | | |
| | | | | | | |
| | |18:18 found footage scratched on. | | | | |
| | | | | | | |
| | |"Joe Mello" 18:41 | | | | |
| | | | | | | |
| | |21:25 granit textured undulating black and white direct | | | | |
| | |animation. | | | | |
| | | | | | | |
| | |24:19 break of black between projects. | | | | |
| | | | | | | |
| | |24:58 sudden ending of the direct animation, to some man | | | | |
| | |in a suite talking about a Microsoft technology | | | | |
| | |demonstration. | | | | |
| | |2006-11-10:02 | | | | |
| | | | | | | |
| | |Tape Title: W93 Direct from Film | | | | |
| | | | | | | |
| | |Copy 2/01/02 | | | | |
| | | | | | | |
| | |Synopsis: This is a tape of direct animation and 2d | | | | |
| | |animation, all without sound, from an unknown class | | | | |
| | |taught by Marge Brown in 1993. There are no titles until | | | | |
| | |the very end of the tape, when they all appear at once, | | | | |
| | |and not in the order of the projects on the tape. | | | | |
| | |Therefore, I just noted all of the names of the students | | | | |
| | |who created the projects, and attempted to note the time | | | | |
| | |of the beginning of each of the projects as closely as | | | | |
| | |possible. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |00:30 | | | | |
| | | | | | | |
| | |pulsating light as if from a camcorder recording a 16mm | | | | |
| | |projection, 2d drawn animation of a man in a chair | | | | |
| | |interacting with light from a television set. 00:43 | | | | |
| | |"pigs" words on television screen, boys skateboarding. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |2:23 seahorse. stick figures having a party in a room. | | | | |
| | |3:10 2d colored animation of a dirty man in front of a | | | | |
| | |television who is sucked into his belly button after | | | | |
| | |picking something out of it. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |03:40 | | | | |
| | | | | | | |
| | |a figure with mohawk-like hair stis at a table which | | | | |
| | |shakes. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |4:53 | | | | |
| | | | | | | |
| | |colored trees wave in the wind. a tear | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |05:28 | | | | |
| | | | | | | |
| | |"Vision Balad" - Honey visseer (?) a lizard plays a | | | | |
| | |guitar while leaning against a rock. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |06:51 | | | | |
| | | | | | | |
| | |drawn animation of a girl sleeping in a bed in the clouds| | | | |
| | |with crazy surreal things happening to her. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |08:00 ? There is a montage of stylized title cards with | | | | |
| | |everyone's names | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |11:04 Color bars. Black screen - end | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |08:12 "Geg John Daud" ? | | | | |
| | | | | | | |
| | |08:14 "Halle Hennessey" | | | | |
| | | | | | | |
| | |08:16 "Lake Lloyd" | | | | |
| | | | | | | |
| | |08:18 "Andre Salcido" | | | | |
| | | | | | | |
| | |08:20 "Victim to Survivor to Woman Warrior" - Shana Wells| | | | |
| | | | | | | |
| | |08:24 "Death By T.V." by Chris Gunn | | | | |
| | | | | | | |
| | |08:26 "Kristina Katinka" (bed) | | | | |
| | | | | | | |
| | |08:28 "Wendy Hall" | | | | |
| | | | | | | |
| | |08:31 "Joe Mello" | | | | |
| | | | | | | |
| | |08:54 "Sheryl Cockrell" | | | | |
| | | | | | | |
| | |08:56 "Lawrena Fogan" | | | | |
| | | | | | | |
| | |08:58 "Rebecca Randall" | | | | |
| | | | | | | |
| | |09:00 "Courtney Barnebey" | | | | |
| | | | | | | |
| | |09:02 "Faculty - Marge Brown" 1993 (c) TESC | | | | |
| | |2006-11-10:03 | | | | |
| | | | | | | |
| | |Tape Title: Student Animations/Productions | | | | |
| | | | | | | |
| | |"8 Ball Love" | | | | |
| | | | | | | |
| | |"Adam" | | | | |
| | | | | | | |
| | |"Power Toys" | | | | |
| | | | | | | |
| | |"Barbie" | | | | |
| | | | | | | |
| | |"Diary Film" | | | | |
| | | | | | | |
| | |Mediaworks | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |(on physical tape) Andrea Stoops 1996 16mm Print Xfer | | | | |
| | |with Sound. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Synopsis: This tape appears to be a compilation of film | | | | |
| | |and animation work by Andrea Stoops. There is no mention | | | | |
| | |of Mediaworks in the credits or text, and I would surmise| | | | |
| | |that this is originated from contract work rather than | | | | |
| | |work within the Mediaworks academic program. The work | | | | |
| | |stands by itself for being visually and stylistically | | | | |
| | |powerful, with a large variety of mediums present in this| | | | |
| | |collection of short films. Note that the film "Barbie" is| | | | |
| | |not present on this tape as indicated on the cover | | | | |
| | |information. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |00:14 | | | | |
| | | | | | | |
| | |color bars. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |00:50 | | | | |
| | | | | | | |
| | |Andrea stoops 1996 | | | | |
| | | | | | | |
| | |Countdown on grainy washed out film. hell kat Productions| | | | |
| | |"ball 8 love. 3d physical anmimation. 2 girls play a game| | | | |
| | |of pool in a bar. one goes to a "latex" dispenser and | | | | |
| | |retrieves a rubber glove, which is used for fingering. | | | | |
| | |Jazz music. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |03:16 | | | | |
| | | | | | | |
| | |Another countdown. "Adam". 2d style animation, paint | | | | |
| | |animation for parts, drawn (colored animation). A boy | | | | |
| | |named Adam narrates a story from hihs childhood about his| | | | |
| | |firsst sexual encounter. "story told by Kymn. produced | | | | |
| | |directed animatied by Andrea stoops. Paintings Angela | | | | |
| | |jones + andrea stoops. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |06:48 | | | | |
| | | | | | | |
| | |Andrea Stoops "power tools" | | | | |
| | | | | | | |
| | |Slow pan of a power-tool filled workbench. this is 16mm | | | | |
| | |film. A power drill is shown. There is no audio. it | | | | |
| | |crossfades to a skillsaw. The framing is visually | | | | |
| | |pleasing. Now there is a jigsaw shown. Now there is a | | | | |
| | |Ryobi router shown. Now audio comes in of crunching and | | | | |
| | |scraping as a boy picks up the router and carressess it. | | | | |
| | |Now there are shots of the power tools running in slow | | | | |
| | |motion, as the sound of cruncing continues. Suddenly, | | | | |
| | |there is the sound of a skillsaw running, and continued | | | | |
| | |shots of power tools and drills happening. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |11:15 | | | | |
| | | | | | | |
| | |"Diary Film" Stoops, Music by Billy Stoops. (c) 1995 Hell| | | | |
| | |Kat productions. | | | | |
| | | | | | | |
| | |Countdown. There is a rhythmic guitar musical | | | | |
| | |soundtradck, as a female voice counts the numbers 1-6 | | | | |
| | |over again. There i a photograph of a person holding a | | | | |
| | |bolex. Now there is a few shots of all similar subject | | | | |
| | |matter: Old film cameras and projectors. The voice is | | | | |
| | |actually counting a sequence of numbers that increases by| | | | |
| | |1 each time. The short ends with a shot of a couple | | | | |
| | |kissing. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |14:43 | | | | |
| | | | | | | |
| | |(tape ends) | | | | |
| | |2006-11-10:04 | | | | |
| | | | | | | |
| | |Tape Title: "Spring 1996 Animation Class" | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |Synopsis: This tape has a short collection of animation | | | | |
| | |projects, most if not all from 1996. There is no mention | | | | |
| | |of what class/ program these were created for in any of | | | | |
| | |the credits, although I did collect a few more names and | | | | |
| | |titles for the label of this tape. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |00:00 | | | | |
| | | | | | | |
| | |Color Bars. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |00:20 | | | | |
| | | | | | | |
| | |2D cutout animation, of birds flying accross circular | | | | |
| | |objects rotating and shaking over backgrounds of | | | | |
| | |photo-realistic landscape drawings. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |01:22 | | | | |
| | | | | | | |
| | |Transformation into a 2D drawn animation of wiggly | | | | |
| | |creatures | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |01:45 | | | | |
| | | | | | | |
| | |Patsy and Jim in (?) something flashed by to quickly. | | | | |
| | |Patsy and jim, a cat and a mouse run around doing things | | | | |
| | |involving exploding other cats, crashing ice-cream | | | | |
| | |trucks, bashing each others hehads, bighting, and othehr | | | | |
| | |violent things. "enough! if you want ice-cream you can | | | | |
| | |have ice-cream!" (ends) "A Michael Harris cartoon". | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |03:52 | | | | |
| | | | | | | |
| | |"Pie In The Face; a really short film" By Sal Occane | | | | |
| | | | | | | |
| | |A man stands and is hit with pie in his face . | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |04:01 | | | | |
| | | | | | | |
| | |2d drawn animation of simple elongated human figures. | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |04:48 | | | | |
| | | | | | | |
| | |Suddenly one withh sound "Perception is Reality". Ants | | | | |
| | |walk into a hole in an ant hill one after the other. | | | | |
| | |"Film to video by Josh Judd" | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |5:36 | | | | |
| | | | | | | |
| | |"Arnold" Starring Peter Federighhni | | | | |
| | | | | | | |
| | |Live action 16mm film. A pan down onto a figure drawing, | | | | |
| | |sitting on a park bench. Voiceover audio of a group of | | | | |
| | |friends, two female one male, talking about how the guy | | | | |
| | |drawing is probably a demented twisted person who draws | | | | |
| | |horrible things in his notebook. Intersperced are 2d | | | | |
| | |drawn animation reinforcing their imaginings. "arnold is | | | | |
| | |just a guy who draws geek stuff anyway." The park bench | | | | |
| | |was shot in the Red Square area of Evergreen. In one shot| | | | |
| | |I could see the Clock Tower behind "Arnold". "Starring | | | | |
| | |Peter Federighni as Arnold." | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |09:47 | | | | |
| | | | | | | |
| | |"Matricide" Amy Boos and Frances Santiago | | | | |
| | | | | | | |
| | |Intersperced live action footage of girls dancing around | | | | |
| | |in the grass with hands clasped. There is audio of an | | | | |
| | |accordion being played. Interspersed shots of two women | | | | |
| | |making love, and a girl washing dishes. Then follows a 3d| | | | |
| | |animation of a horrified little man and a wire monster. | | | | |
| | |The wire monster's head transforms into a 50s style | | | | |
| | |woman's head, and intercut with shots of a motherly | | | | |
| | |figure shaking a finger at the camera. "matrici" - Amy | | | | |
| | |Boos and Santiago(?) "Made at the Evergreen State College| | | | |
| | |1996" | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |12:30 | | | | |
| | | | | | | |
| | |2d cutout animation of a blue-tinted images guns nickels | | | | |
| | |and dimes and quarters, factory workers? | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | |13:00 | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
| | | | | | | |
................
................
In order to avoid copyright disputes, this page is only a partial summary.
To fulfill the demand for quickly locating and searching documents.
It is intelligent file search solution for home and business.
Related searches
- advantage credit evergreen colorado
- titanic research archive wow
- advantage credit inc evergreen co
- art archive software
- skyward family access evergreen district
- skyward evergreen vancouver wa
- ultimate guitar archive chords
- armour archive sca
- evergreen school district skyward
- skyward evergreen public schools
- archive lottery ny game past
- archive math