From DooDles to Pixels over one HunDreD Years oF sPanisH animation

From FeBruarY 3rD to marCH 24tH

ProGramminG

DooDles ProGramm 1

Back in the early days, Spanish animation had very close ties to comics, advertisements and social satire. Discover some entertaining creations through works by pioneers like Segundo de Chomón and contemporary artists such as Javier Mariscal and Calpurino Pisón.

L’Araignée d’or by Segundo de Chomón [Esp., 1908, 9 min, dig., muet] ; En los pasillos del congreso by K-Hito (Ricardo García) [Esp., 1932, 2 min, dig., muet] ; Alimentos de régimen Santiveri by Josep Serra i Massana [Esp., 1932, 1935, 2 min] ; Tabú, colorete en polvo by Josep Serra i Massana [Esp., 1933, 1 min, dig., VOSTA] ; Radio RCA by Enrique Ferrán [Esp., 1935, 2 min, dig., muet] ; El fakir González buscador de oro by Joaquim Muntañola [Esp., 1942, 8 min, dig., VOSTA] ; Juanito va de caza by Salvador Mestres [Esp., 1942, 8 min, dig., VOSTA] ; El cascabel de Zapirón by Josep Escobar [Esp., 1943, 8 min, dig., VOSTA] ; Don Cleque flautista by Jaume Baguñà [Esp., 1944, 8 min, dig., VOSTA] ; Garabatos: Manolete by Jaume Baguñà and Manuel Díaz [Esp., 1943, 1944, 8 min, dig., VOSTA] ; Los tambores de Fu-Aguarrás by Jaume Baguñà [Esp., 1945, 9 min, dig., VOSTA] ; El bueno de Cuttlas by Calpurnio Pisón [Esp., 1991, 9 min, dig., SD] ; Amarillo verano by Javier Mariscal [Esp., 2013, 5 min, dig., SD]

unDer tHe Yoke ProGramm 2

In a Spain devastated by civil war, the Franco regime saw the potential in using the cinema for propaganda purposes and therefore sponsored the production of The Enchanted Sword. This film had a bigger budget than live action films of the time and became the first animated feature film in colour outside the US.

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This programme was created out of the desire to shine the projectors on a relatively unknown history. Recent titles like Wrinkles, Chico & Rita, Tad the Lost Explorer, The Apostle and Possessed have definitely pushed Spanish animation onto the international scene. But these success stories only represent a tiny portion of the efforts made by artists who have been fighting tooth and nail to establish animation as an art and an industry. Here, we will share the results of our exclusive research with you: historical material in connection with modern works.

“From Doodles to Pixels” gathers together a selection of films animated using diverse techniques that represent turbulent times dating back to the beginning of the 20th century up until the present day. This story is sprinkled with major yet isolated events (the first animated European feature in colour was The Enchanted Sword in 1945) and forgotten works. For a long while, we thought that Spanish animation hardly existed, but this programme proves that this could not be further from the truth.

We made a great effort to choose films representing each time period and trend, more so by distinguishing the idiosyncrasies in Spanish animation rather than how the films reflect cultural diversity. We can identify some recurring themes such as links to comic books, reflections on political strife and connections with Fine Arts.

Carolina López

From Doodles to Pixels, curated by Carolina López, is a coproduction of the Centre de Cultura Contemporània de Barcelona CCCB and Acción Cultural Española AC/E.With the support of Filmoteca de Catalunya, Filmoteca Española, Movierecord, Tres60BCN and Lobster Films.

Garbancito de la Mancha by Arturo Moreno [Esp., 1945, 68 min, dig., VOSTA]

moDern times ProGramm 3

After 20 years of autonomy, an economic miracle took place in Spain when consumerism sky rocketed and animation found its role in the flourishing advertising industry. The Moro studios became the top advertising production company in Spain during the 1950s. Discover some of their works during this programme along with other more modern ads.

Estudios Moro commercials [Esp., 1954, 1964, 16 min, dig., VOSTA] ; Vamos a la cama by José Luis Moro [Esp., 1965, 1 min, dig., VOSTA] ; El sombrero by Robert Balser [Esp., 1964, 8 min, dig., SD] ; La doncella guerrera by Julio Taltavull [Esp., 1974, 12 min, dig., VOSTA] ; William Wilson by Jorge Dayas [Esp., 1999, 10 min, dig., VOSTA] ; La gallina ciega by Isabel Herguera [Esp., 2005, 7 min, dig., SD] ; Las vidas ejemplares by Carles Porta [Esp., 2008, 11 min, dig., VOSTA] ; El viaje de María by Miguel Gallardo [Esp., 2010, 6 min, dig., VOSTA] ; Vía Tango by Adriana Navarro [Esp., 2013, 3 min, dig., SD] ; Onemoretime by Tonet Calabuig, José González and Elisa Martínez [Esp., 2014, 5 min, dig., SD]

Am

arillo verano

Radio R

CA

Garbancito de la M

anchaO

nemoretim

e

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A three-part screening has been organised to appreciate the animation of Spanish animation master, Francisco Macián. Take a glimpse into his film catalogue through a couple of promotional shorts and his first feature.

maCián, tHe maestroProGramm 4

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(514) 842-9768 CinematHeQue.QC.Ca

Buena mesa (aceite Koipe) by Francisco Macián [Esp., 1955, 1957, 1 min, dig., VOSTA]; Sinfonía escarlata (tomate Corchero) by Francisco Macián [Esp., 1958, 1 min, dig., VOSTA] ; El mago de los sueños by Francisco Macián [Esp., 1966, 70 min, dig., VOSTA]

tHe artist’s traCeProGramm 5

In the ‘50s, most Spanish animation was made on a trial and error basis. During the ‘70s, many filmmakers were more attracted to the fine art scene than to feeding the demand for small screen content. Discover the works from animators like Iván Zulueta, José Antonio Sistiaga, Rafael Ruiz Balerdi, Frederic Amat and many others who turned their back on the mainstream in order to create what they wanted to.

Get Back by Iván Zulueta [Esp., 1969, 5 min, dig., SD] ; Homenaje a Tarzán by Rafael Ruiz Balerdi [Esp., 1970, 5 min, dig., VOSTA] ; No sé by Nicéforo Ortiz [Esp., 1985, 5 min, dig., VOSTA] ; Impresiones en la alta atmósfera by José Antonio Sistiaga [Esp., 1988, 1989, 7 min, dig., SD] ; 20 días de amor by Etxegaraico Goti (José Félix González Placer) [Esp., 1991, 4 min, dig., SD] ; Las partes de mí que te aman son seres vacíos by Mercedes Gaspar [Esp., 1995, 9 min, dig., SD] ; Geroztik ere... (And since then...) by Begoña Vicario [Esp., 1999, 2 min, dig., VOSTA] ; Minotauromaquia: Pablo en el Laberinto by Juan Pablo Etcheverry [Esp., 2004, 9 min, dig., SD] ; Estado de cambio by David Betsué and Marc Vives [Esp., 2010, 7 min, dig., SD] ; Hotzanak (For Your Own Safety) by Izibene Oñederra [Esp., 2013, 5 min, dig., VOSTA] ; Cromo by Marcel·lí Antunez [Esp., 2013, 4 min, dig., VOSTA] ; Sangre de Unicornio by Alberto Vázquez [Esp., 2013, 9 min, dig., VOSTA] ; Tengo miedo by Laura Ginès [Esp., 2014, 4 min, dig., SD] ; Estela by Frederic Amat [Esp., 2015, 2 min, dig., muet]

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Pablo en el Laberinto

Humor anD CarnaGe ProGramm 6

Franco’s death was followed by a period of hope and revival during which graphic humour played a key role in pushing the limits of free speech. Controversial subjects like immigration, consumerism, domestic violence and the abuse of power were all sources of inspiration for animation at the time and can be seen in this programme, which is probably the most aggressive in the whole cycle.

La bronca [Esp., 1917, 1 min, dig., muet] ; Cambó i l’autonomia [Esp., 1918, 1 min, dig., muet] ; La edad de piedra by Gabriel Blanco [Esp., 1965, 11 min, dig., SD] ; Pasión Siega (excerpt from Historias de Amor y Masacre) by Jordi Amorós [Esp., 1979, 13 min, dig., VOSTA] ; Caracol, col, col by Pablo Llorens [Esp., 1995, 12 min, dig., VOSTA] ; Cirugía by Alberto González Vázquez [Esp., 2006, 2 min, dig., VOSTA] ; Vicenta by Sam [Esp., 2010, 22 min, dig., VOSTA] ; Amor de mono by Trimono [Esp., 2015, 4 min, dig., SD]

Cirugía

Destino HollYWooD (anD BeYonD) ProGramm 7

Disney, Pixar, DreamWorks, Aardman… All these studios have taken on Spanish animators. Check out some of their first films in this programme that date back to when these young filmmakers only dreamed about working for a major studio.

The Metamorhosis. Part 1 by Charlie Ramos [Esp., 1998, 8 min, dig., VOA-STEsp] ; Top Gum by Víctor Vinyals [Esp., 2001, 2 min, dig., SD] ; How to Cope with Death by Ignacio Ferreras [Esp., 2002, 3 min, dig., SD] ; Tadeo Jones by Enrique Gato [Esp., 2004, 10 min, dig., SD] ; The Tell-tale Heart by Raul García [É.-U.-Esp., 2005, 10 min, dig., VOA-STEsp] ; Alma by Rodrigo Blaas [É.-U.-Esp., 2009, 5 min, dig., SD] ; Doomed: A Biological Cartoon! by Guillermo García Carsi [Esp., 2011, 10 min, dig., VOSTA] ; Historia de Éste by Pascual Pérez [Esp., 2011, 7 min, dig., VOSTA] ; Strange Oaks by Headless Studio [Esp., 2013, 1 min, dig., VOA-STEsp]

next Generation ProGramm 8

In the 1990s, the number of filmmakers multiplied along with the possibilities of working abroad thanks to the technological and industrial advances and the opening of European borders.

This selection presents shorts from the past ten years, produced either in Spain or by young Spanish filmmakers who have gained international recognition.

Cada día paso por aquí by Raúl Arroyo [Esp., 2004, 9 min, dig., SD] ; Les bessones del carrer de Ponent by Marc Riba and Anna Solanas [Esp., 2010, 13 min, dig., SD] ; Crik-Crak by Rocío Álvarez [Fr., 2011, 1 min, dig., VOSTA] ; O Gigante by Luis da Matta and Julio Vanzeler [Esp., 2012, 11 min, dig., SD] ; Astigmatismo by Nicolai Troshinky [Esp., 2012, 4 min, dig., SD] ; Magma by Dvein [Esp., 2013, 1 min, dig., SD] ; The Day I Killed my Best Friend by Busto Algarín, Blanca Font [R.-U.-Esp., 2013, 6 min, dig., VOA] ; Zepo by Cesar Diaz Melendez [Esp., 2014, 3 min, dig., SD] ; Bendito Machine V by Jossie Malis [Esp., 2014, 12 min, dig., SD] ; Princesa china by Tomàs Bases [Esp., 2014, 5 min, dig., VOA]

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ago de los sueños

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