On “Culture Thursdays” we talk about music and movement … Events in Treviso

The cycle of conferences promoted by the Cassamarca Foundation dedicated to two major themes, “Classical” and “Universe”, which will be addressed in their many forms of personalities in the field of culture and science continues.

The May 5 appointment will be dedicated to the theme: “Music, movement and author animation: Jiri Trnka and Michael Dudok De Wit”. The conference will be held at 17.00.

There will be Andrijana Ružić, author of the volume “Michael Dudok de Wit – A Life in Animation, CRC Press” (Taylor and Francis Group, 2020) and Marco Bellano, author of “Vàclav Trojan – Music composition in Czech animated films” (CRC Press, Taylor and Francis Group, 2020).

The book Michael Dudok de Wit – A Life in Animation provides a unique insight into the career of director Michael Dudok de Wit; he deals with the production of all his films, his peculiar working method, and he hardly opens up his private life as well. The biography of this European champion in 2D animation, born in the Netherlands and with an address in London, is the first complete overview of his canonical work and is also enriched with a personal animation glossary written by Michael Dudok de Wit, a critical reception of his work with extensive contributions from its colleagues and partners. Visually and thematically, his poetic and unique animation style differs from the rest of contemporary independent animation production. This book reveals what still challenges and excites Dudok de Wit in the art of animation and why he still continues to believe in the beauty of handmade animation.
Michael Dudok de Wit (1953) was born in the Netherlands. After school he studied graphics in Geneva and animation in Farnham, England, where he made his first film “The Interview”. After working for a year in Barcelona, ​​he settled in London in 1980. He worked freelance with several studios, especially with the production company Richard Purdum Productions, and directed and animated many award-winning commercials for television and film. In 1992, he created his short film “Tom Sweep”, followed by “The Monk and the Fish”, which was made in the Folimage studio in France. This film was nominated for an Oscar and won a César. His best-known short film “Father and Daughter” won the Grand Prix in Annecy, an Oscar and a BAFTA award. In 2004, he completed his short film “The Aroma of Tea” and recently wrote and directed the feature film “The Red Turtle” in France with Prima Linea Productions. “The Red Turtle” was co-produced by Studio Ghibli, Japan. It was nominated for an Oscar (2017) and won the Un Certain Regard Special Award, Cannes Film Festival 2016, as well as several other international awards. Michael also illustrates books and teaches animation masterclasses at art colleges and universities in the UK and abroad.

Andrijana Ružić holds a degree in history and art criticism from the University of Milan, Italy, where she fell in love with the art of animated drawing. She specialized in the History of Animation Cinema under the guidance of Giannalberto Bendazzi: The subject of her dissertation was the work of two unpredictable spirits from the American independent animation scene, John and Faith Hubley, and their Storyboard Studio in New York. As an independent researcher, she has participated in several animation study conferences, where she presented works by several independent animation authors. His essays have been published in English and Serbian in several animation study books. For the past seven years she has been the curator of the section dedicated to animated films at the International Comics Festival in Belgrade, Serbia. He is a member of the Scientific Commission on Animafest Scanner, the modern animation studio symposium at the World Festival of Animated Film Animafest, held annually in Zagreb, Croatia. He writes about animation and art for the weekly magazine Vreme in Belgrade. She is the author of the book Michael Dudok de Wit – A Life in Animation (CRC Focus).

“Vàclav Trojan – Music composition in Czech animated films” (CRC Press, Taylor and Francis Group, 2020).
If puppet-based cinema has become so popular around the world today – at least beginning with The Nightmare Before Christmas – much of the credit goes to Czechoslovak animators and directors. From the 1930s onwards, the artistic successes of a “school” have been uninterrupted, which with deep roots in national puppet theater have discovered how to use film language to give inert matter expressive power and life. The Czechoslovakian poetics in this animation actually have a fascinating paradox at heart: what it recites on screen never denies its lifeless nature, but rather exhibits it. Jiří Trnka’s puppets (1912-1969) never changed expression, like masks in old plays. What made the faces “alive” was the refinement of their construction, which set their gaze to make it vague, lost to mysterious horizons; and then there was the cinema, which gave rhythm and meaning to the miniature actors’ positions thanks to calculated choices of framing, camera angles and lighting. The pantomime was then amplified by music, often curated by Václav Trojan (1907-1983), a regular collaborator of Trnka. A recent volume by Marco Bellano (Václav Trojan. Music Composition in Czech Animated Films, Routledge / CRC Press, 2019) talks about these artists and their heritage; during the meeting he will take as his starting point this book to launch a look at Czechoslovak animated film and its influence on today’s important directors, such as Tim Burton (The corpse bride, 2005) and Henry Selick (Nightmare Before Christmas, 1993; Coraline, 2009).

Marco Bellano is an adjunct professor of history of animation and digital and interactive multimedia at the University of Padua. He has also been a lecturer at the University of Salamanca, Boston University Study Abroad Padua, the Bruno Kessler Foundation and the Ferrara Conservatory. He is the author of international publications on animation and film music, such as Václav Trojan. Music composition in Czech animated films (Taylor & Francis, 2019) and Allegro non molto. Bruno Bozzetto’s animated music (Bloomsbury, 2021) as well as the popular essay 24 frames for a story about animation (Dino Audino, 2021). In 2020, on the occasion of Fellini’s centenary, he authored one of the chapters of the Wiley Companion for Federico Fellini, dedicated to the graphic heritage of the director. In 2014, he received the Norman McLaren-Evelyn Lambart Award for Best Academic Paper from the SAS Society for Animation Studies. He organized and chaired the 29th Annual SAS Conference (Padua, 2017). He also graduated in piano and conducting at the Vicenza Conservatory.

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