Performance Guide
Cuesheet
Film: Decoding the Message A Film Screening a n d D i s c u ss i o n
Since its beginning in the 1860s, film—the art of moving images— has continued to evolve over time thanks to advances in technology and the imaginations of innovative artists. One such artist was experimental animator and filmmaker Norman McLaren, who film magazine Séquences called the “poet of animation.” McLaren focused on exploring numerous elements that make up the language of film. Not a vocabulary list, the language of film refers to the tools and techniques filmmakers use to tell visual stories. The screening will provide an inside look at McLaren’s work alongside other films from the National Film Board of Canada. You’ll learn about the various techniques used and how to analyze a film’s message, as well as discuss the films after the presentation.
Photo by Jack Long/National Film Board of Canada
Norman McLaren (1914–1987) Born and raised in Scotland, McLaren’s interest in the visual arts began early. At age 18, he joined his school’s film club and discovered his passion for motion pictures. He immediately recognized film’s relevance and potential for expressing ideas.
Norman McLaren at work.
By 1934, his film career was fully underway, catching the attention of pioneer documentary filmmaker John Grierson. In 1941, Grierson invited McLaren to join Canada’s National Film Board (NFB) and create their first animation team. At the NFB, McLaren was able to take his film experiments to new levels. Over the years, his team created new camera and projector systems, dabbled in 3-D technology, and tested countless new sound and special effect techniques.
Performances for Young Audiences is made possible by
Now Showing During the screening and discussion, you will see several short films, including three by Norman McLaren:
Boogie Doodle (1941) To create this film, McLaren painted directly on a 16 mm film strip. See if this simple story has a beginning, middle, and end. (running time 3:18)
Other films to be shown include:
The Danish Poet (2007) Filmmaker Torill Kove used cel (short for celluloid) animation in this Academy Award®–winning film. Discuss the importance of the narrator’s voice, and the filmmaker’s technical choices and storytelling technique. (14:24)
Darrell M. Ayers Vice President, Education
The film follows the story of Kasper the “Danish poet” in search of inspiration.
Additional support for Performances for Young Audiences is provided by the President’s Advisory Committee on the Arts, Capital One Bank, the Carter and Melissa Cafritz Charitable Trust, The Clark Charitable Foundation, Fight for Children, Inc., Mr. James V. Kimsey, The Kirstein Family Foundation, Inc., The Max and Victoria Dreyfus Foundation, Inc., Linda and Tobia Mercuro, The Morris and Gwendolyn Cafritz Foundation, Park Foundation, Inc., Mrs. Irene Pollin, Dr. Deborah Rose and Dr. Jan A. J. Stolwijk, The Theodore H. Barth Foundation, Inc., the U.S. Department of Education, and the Verizon Foundation.
Pas De Deux (1968)
Black Soul (2000)
(pronounced (PAH-d’-DUEH, a dance for two) By exposing each frame numerous times in order to see the complete breakdown of ballet movement, this film takes on a dream-like feel. You’ll learn how this effect was achieved both visually and technically. (13:22)
To tell the history of African Canadians, filmmaker Martine Chartrand employs the technique of “painting on glass.” Watch how this technique and the film’s soundtrack help compress a significant history into a short film of less than ten minutes. (9:47)
In each of these films, reflect on:
Jeu (2006)
www.kennedy-center.org/artsedge
Through cel animation, Swiss filmmaker Georges Schwigzebel uses bright colors and optical illusions to trick the eye and capture the fast-paced chaos of modern life. (3:51)
Cuesheets are produced by ARTSEDGE, an education program of the Kennedy Center. ARTSEDGE is a part of Verizon Thinkfinity, a consortium of free educational Web sites for K-12 teaching and learning.
n n
n
© 1957 National Film Board of Canada. All rights reserved.
Michael M. Kaiser President
© 2006 National Film Board of Canada. All rights reserved.
A Chairy Tale (1957) This amusing film highlights a young man and a stubborn chair that refuses to be sat upon. Using object animation and pixillation techniques where both the chair and actor were animated at the rate of 24 frames per second, McLaren brings a chair to life, packed full of personality. (9:53)
David M. Rubenstein Chairman
there is no dialogue. how the music helps to communicate the film’s message. the style or poetic nature of the film.
In A Chairy Tale, observe how the soundtrack matches the actions and emotions of the visual story.
Flawed (2010) Learn how filmmaker Andrea Dorfman hand paints a series of paintings and storyboards in this film about body image, self-confidence, and relationships. Find out why this personal story is best told by using this technique as opposed to a documentary or an animated film with no human presence. (12:29)
Film: Decoding the Message is presented in partnership with the National Film Board of Canada. Major support for the Kennedy Center’s educational programs is provided by David and Alice Rubenstein through the Rubenstein Arts Access Program.
Learn more about Education at the Kennedy Center at www.kennedy-center.org/education The contents of this Cuesheet do not necessarily represent the policy of the U.S. Department of Education, and you should not assume endorsement by the Federal Government. © 2011 The John F. Kennedy Center for the Performing Arts
Please recycle this Cuesheet by sharing it with friends!