Symposium - Applied Short Animation

Friday, 11 December | 9:00 | stattkino | Estimated Duration: 200 minutes
Speakers: Peter Dougherty, Wim F. Möllmann, Merlin Crossingham, Florian Krautkrämer


Being creatively active and developing exciting and stimulating contributions in applied fields presents a particular challenge. Available formats are often short or very short. Which strategies promise good results? Which dramaturgic structures are successful and expand creative leeway? The speakers provide fascinating insights in their fields of work.


Peter Dougherty, New York
Using examples from MTV, I will address questions of the architecture of short sequences in these films. This includes investigation into dramaturgical structuring, conception and evaluation of short sequences.


Wim F. Möllmann, Zurich
Why the hell should I design and animate for a TV channel?
What challenges do you face when animating for a television channel? What are the peculiarities and what are the rules? How does corporate design affect the design and animation package of a show? Is there any room for creative freedom? Using examples from various projects, Wim F. Möllmann, Brand Manager for Swiss Television, will give profound insights into the possibilities and restrictions of designing and animating for a TV channel.


Merlin Crossingham, Bristol
Visual Narration
After a brief introduction to Aardman Studios, we will look at the studio’s BBC One idents in detail, from concept to completion. We will then consider basic structures and familiarity (Channel Three idents) and narrative versus situation comedy (Cadbury commercials). Some questions arise: What makes the audience understand? A still image can tell a story, so why is it so hard to make an ultra-short film tell a story? We will finish with a brief screening of 30-second commercials featuring story telling – food for thought. (All films presented are from the Aardman archive.)


Florian Krautkrämer, Braunschweig
Powerful credit sequences are meant to put the spectator in the right receptive mood. They are proof of the story telling skills of the designer, who has to sketch out, within a minute, what the following two hours will contain. Thinking about dramaturgy, there are two possibilities to examine: the dramaturgy within the title sequence itself, and its potential regarding the dramaturgy of the entire film. The talk addresses the special qualities of the credit sequence, and by which means it can be controlled and made useful. An important instrument is available in the credits themselves: text graphics with little or no interest for the general audience that provide a great playground for animation.