As announced at the close of the 2017 event, the 2018 edition of the Annecy International Animation Film Festival will focus its lens on Brazilian animation.
Music, as well, will be ubiquitous during the week thanks to cine-concerts, screenings, conferences, debates and more.
Brazilian animation plus music in animated films – the two were just made to tango!
“This year, Annecy will focus its bright lights on Brazilian animation!
In doing so we want to fete the emergence of a true cinematography, one which, over the past five years, has provided the Festival with two Cristals for feature films: Rio 2096: A Story of Love and Fury by Luiz Bolognesi in 2013 and The Boy and the World by Alê Abreu in 2014. And of course Rosana Urbes’ short film Guida should not be forgotten, having earned the Jean-Luc Xiberras Award for a First Film and the Fipresci Jury Distinction in 2015. For the last three years in a row Brazilian animation has burned its star status into Annecy’s firmament, representing an outstanding run and justifying our increased exploration of national production.
But there’s more! Brazil is fertile cultural loam: reputed first for its music, but also for its architecture, movies, literature, paintings, etc. We want 2018 to be an opportunity to extol Brazil’s cultural energy. We want to show how this major territory is a powerful spring of creativity, to show how Brazilian animators have drunk deep from these waters to establish an unusual and striking expression.
The programming in homage to Brazilian animation will be jointly planned with our colleagues from Anima Mundi, a festival founded in 1993 which takes place every year in Rio de Janeiro and Sao Paolo.”
Marcel Jean, Artistic Director
When the ear sees and the eye hears
Music and animated movies
“Ever since the silent film era, filmmakers have dreamed of creating visual music by moving graphic shapes according to specific rhythmic dynamics. Viking Eggeling (Diagonal Symphonie) springs to mind here, or Hans Richter (Rythmus 21) who conducted fascinating experiments in Weimar Republic Germany.
The debut of the “talkies” led a number of directors to blaze the trails of musical illustration. Oskar Fischinger (Hungarian Rhapsody, An Optical Poem) is the best known among them. He even worked with Walt Disney in preparing Fantasia.
There are countless animation movies which use music as a theme or raw material. Whether this be Ralph Bakshi’s American Pop, Allegro non troppo by Bruno Bozzetto, the mythical since near-invisible Rock Odyssey by Robert Taylor, or George Dunning’s The Yellow Submarine, major musical films have composed part and parcel of animated film history. It should not be forgotten, either, that the grand Disney classics are all famous for their songs…
The greatest animators have made musical films (Norman McLaren, Alexandre Alexeïeff, Lejf Marcussen, Mickael Dudok de Wit, Georges Schwizgebel, etc.) and the greatest composers have written works for animation (Arthur Honegger, Oscar Peterson, Ornette Coleman, John Williams, Hans Zimmer, Bruno Coulais, Alexandre Desplat, Danny Elfman, Gabriel Yared and others). Some composers have even made animation work their specialty, such as the Canadian Normand Roger or, more recently, the Frenchman Pierre Caillet.
To render homage to music in animated cinema, the best way to begin is to let musicians step up on stage, to remind us – as emphatically as possible – of the importance of music in our relationship to cinema, in the emotion which pulses from it, in its structure itself…
We want to let the composers speak for themselves, to endow them with a place of honor in our Festival programming, and to enable public and professionals alike to meet them.”
Marcel Jean, Artistic Director
Check out Annecy Festival photos on Flickr