Kyle & Karin on Tape

>>> Part Two Here

And for some further insight, here is a short documentary on film titles – 90’s style !
>>> Watch Part One
>>> Part Two

 

And Now for a Commercial Break

Gitane Catch… 1961. Production La Comète. Dir. André Sarrut et Jacques Asséo

Where would the advertising world be without animation ? That is obviously a question to be turned around too, each having fed and nurtured their forms reciprocally throughout their long collaboration. The communication and advertising agencies of today are more or less tightly linked with design and animation studios. Their history is a fascinating perspective on how animation has developed and may help pinpoint a particular shift from what was initially pure character driven cartoon animation to the more graphic design informed domain of motion graphics which seems to have taken hold as the dominant force in the advertising world of today.
After a return visit to the exhibition in Paris, ‘La Pub s’anime’, (Animated Ads), I wanted to jot down a few key moments along with the people that paved the way towards our present day marketing world. This is obviously a focus on the history in France but the question begs : How did advertising and animation develop in other developing countries ?

Gitanes La logique de Toto 1926. Robert Lortac & André Payen

** 1918 – 35 **

Robert Collard (1884 – 1973),often named Robert Lortac, sets up Europe’s first animation studio in Montrouge in 1919. The studio is reputed to have created quantitatively the greatest number of animated films in France and remained active up until 1945. Amongst the first 15 employees, a certain Raymond Savignac who was already a well known poster artist of the era. To begin with, animated ads were informed by graphic design and the poster format. Illustration and typographic elements were often taken from existing poster ads and animated, finishing off with a fitting slogan and the name of the product.

Gitanes La logique de Toto 1926. Robert Lortac & André Payen

** 1936 **

Animated ads were first screened as intervals for the cinema, however ad agencies wanted to keep people in the cinema during the breaks. Enter the cartoon character and storytelling. From this point on commercials become closely tied to
traditional cartoons and develop into saga long commercials that entice as entertain the public.

Paul Grimault (1905 – 1994) and André Sarrut ( ) set up Les Gemeaux production house. However….

** 1950 – 68 **

….in 1952, after misunderstandings, the two associates split and Paul Grimault opens, Les Films Paul Grimault and André Sarrut starts his own studio, La Comète, with animator Jacques Asséo.

In the fifties, France develops as a consumer society and the budget for ad agencies doubles. Consequently their is a mushrooming of production houses, some of which dedicate their activities purely to creating commercials. This is the case for Sarrut’s La Comète which made more than 2000 commercial films exporting 80% of their output and became the most important film company for animated commercials in Europe at the time.

Air Wick Pour ceux qui ont du nez 1955. André Sarrut & Jacques Asséo

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>>>Watch Gitane Bleue

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Gitane Bleue 1958. André Sarrut & Jacques Asséo

Total Oil 1958. André Sarrut

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In 1953, Jacques Forgeot (1923-1969) opens Les Cinéastres Associaciés and employs some of France’s and indeed Europe’s leading animators : Raoul Franco, Etienne Rajk (1904-1976), Paul Casalini (1933 – ) and the Bettiol brothers. Not forgetting Alexandre Alexeieff (1901-1982) who had just come back from a passage in Amercia and had already a rich and innovative background in working for commercials.

Le Parisien Concourt 1960. Production Jean Mineur. Dir. Raoul Franco

EDF/GDF. Eau Chaude 1961. Production Jean Mineur. Dir. Raoul Franco

** 1970 **

Remains a minor period with struggling output due to high costs, competition from television ads and a return to live action.

** 1980 **

This is a major period of technological change – the arrival of digital imaging and the development of 3D. Exmachina becomes the third largest production house in special effects in the World. The likes of Pierre Coffin (1967..), Pascal Vuong (1960..) and the H5 Collective push forward the form and major production houses such as TBWA and Buf set up business specializing in CGI visual effects and animation.

Restore L’homme moteur synthétique 1984. Agence Hautefeuille. Dir. Jerzy Kular

>>> Watch a selection of French animated ads
>>> 1950’s Commercials
>>> Animated Logos

 

Classic Modern

Deubal’s work in motion revolves around the graphic modernist style
with a contemporary edge. Their imaginative use of typography is a
lesson in simplicity with class.

http://www.deubal.com/

 

Jeff Scher – Steven Heller

Jeff Scher’s animated portrait of Susan Shin.
Copyright Maya Stendhal Gallery.

An excellent article on the illustrator and animator Jeff Scher.
Written by Steven Heller for Eye Magazine. Vol 15. Summer 2006
…………………………………………………………………………….
>>>> Read Online Here
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>>>> Check out the videopod in the margin :
Inspiration
Let It
Reasons To Be Glad

 

Dad’s Dead Again

Chris Shepherd 2006.

The creative possibilities, visually speaking, to play with narrative nowadays are enormous yet rare are those that fully explore that rich palette before us. And then there are certain films that linger amid the ether of memory more than others. Chris Shepherd’s film, ‘Dad’s Dead’, screened for the first time in 2002 has both these possibilities. When I saw this film for the first time, the visual treatment, unconventional narration, the montage and clever use of mixed media, all came together to leave quite a surprisingly profound impression.

The creative process behind the production is a detailed journey of narrative, impression and inspiration that was built up from a specific and deeply personal experience. As Chris pointed out in an interview I conducted with him in summer 2006, Dad’s Dead had initially sprung from a return visit to his childhood neighbourhood of Everton, Liverpool. Walking through desolate council concrete and his then demolished secondary school, Chris suddenly began to feel a profound sense of loss and hopelessness. It is from that feeling Chris began to slowly layer up his film ‘like a painting’, mixing live action footage with animation and visual effects to enhance and evoke the very sentiment which had touched him so. And indeed you feel this as a viewer, the emotional impact can be felt with poignant ease.

The reason we are drawn into the Baconesque World of Dad’s Dead is in part due to the emotional side which many can relate to and also in part due to the means of communicating that emotion with efficiency. There are of course deeply cultural iconic images that play a part in that : The ‘Ladybird’ story book that opens up with nostalgia, the Dr. Who Daleks and the classic British ice cream van. Beyond these though there is also a tonal treatment to the film that enhances the darker sides of emotion, the animation is imaginative and the graphics perfectly chosen. Chris had also chosen to use a first person narrative that is in effect the camera. It takes you through that story as a character and that character could well be yourself.

‘Dad’s Dad’ is a great example of mixed media film. It underlines the fact that different techniques can be used to strong effect without having to be exclusive to any particular genre. Are we in pure narrative fiction, drama, documentary, animation ? This little film has it all. And all in the right amounts. Chris has just finished his latest short, ‘Silence is Golden’ which was premiered in Paris in 2006. It is yet another example of Chris’ ability to mix different techniques giving a wonderful dimension to his narrative work. Unlike Dad’s Dead, which is a film about memory and nostalgia, Silence is Golden embarks upon the imaginary World of a little boy. An imagination that draws him into sometimes difficult corners of reality.

>>> Chris Shepherd Films :
Dad’s Dead 2003
Who I Am And What I Want 2004
Silence is Golden 2006

>>>Slinky Pictutres Studio
>>> Interview with Chris Shepherd.2006

 

The Complete Bond Titles

As Etienne Mineur, author for this informative link, points out. Practically all the techniques developed over the past 40 years in motion graphics are visible in the main titles for James Bond. It is in itself not only a body of work that is rich in technique, the visual narratives are legend for their iconic images loaded with sex and guns.
Etienne Mineur has presented the complete titles here in glorious chronological order.

>>>Watch