Verzet
“And you could say like ‘hey I don’t care about all that, you figure it out’ but you could also be a decent person” 1
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Table of contents Introduction (Michele)
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1_Historical background (Louis) 1.1_Location of the story (Louis / Michele) 1.2_Nazi portrayed by jews / Villains (Tori) 2_Theoretical Background (Samantha) 2.1_Case studies (Michele) 3_Concept (Michele) 3.1_Story (Michele / Viviane) 3.1.1_interview 4_Pre production (Michele) 4.1_Moodboards (Samantha) 4.2_Storyboard (Viviane) 4.3_Concept art (Samantha) 4.3.1_backgrounds (Samantha / Elena) 4.4_Character design 4.4.1_cor (Tori) 4.4.2_nazi (Michele) 4.4.3_jews (Selen) 4.5_Scene Layout 5_Production 5.1_Workflow (Michele) 5.2_Issues (Selen) 6_Post Production (Samantha) 6.1_sound (Samantha)
5 6 7 11 12 14 15 16 17 17 21 24 29 33 33 35 38 40 42 48 50 51 53
Conclusions Final credits Sources / Literature
54 55 58
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Introduction The short movie comes from an idea of Beeldtijd, a company which works with moving images and mainly social issues. They had the idea to interview some civil witnesses of second world war and make a series of short animated documentaries out of it, each made by a different person or group. They wanted to use a new technique to retell the story of local witnesses of the Second World War, through their eyes. From every interview they took one memory, one event, out of the whole, and they asked someone to animate it. They did this to try to be less entertaining than usual documentaries and also to make it available for younger generation. In fact, the target audience for this whole operation is from twelve to fifteen years old. Another reason is that these elderly people tend to have floating memories: through animation they tried to fill those gaps and make up a story. In case, the role of animation was also to provide some historical background, but that was not mandatory. One aim was also to show to it to the younger generation how it was to live during wartime. Right now, documentaries about Second World War tend to be very truthful and fact based: this approach tends to make them quite boring and old fashioned. The project wanted to tell the stories of families and civilians that lived in Brabant during those world-changing events. This allowed them to tell some stories that were personal, intimate and localized. In fact, they wanted to work on the emotional side and make something personal and powerful. The task consisted in the making of a three-minutes animation, with the target of young people from twelve to fifteen years old, with a free technique. We had a refound limit of 1500 euros. This book is structured in the following way: the first two chapters try to design a frame in which the story takes place, from an historical and theoretical point of view. While the first focuses on the Second World War in the Netherlands and in Bergem op Zoom, the second one defines what an animated documentary is and raises some questions on the topic. The rest of the book is about our approach and how we made it happen: the third chapter is about the story, the interview and how we interpreted it; the fourth chapter is about the pre production and the visual choices that we made; the fifth chapter is about the production and the challenges that we had to face; the fifth and final chapter follows the path of the post production, mainly from a technical point of view. In the end, there are some conclusions, aimed to explain what we learned in this process. Have a good reading!
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1_Historical background The Second World War started on the 3rd of September 1939 with the invasion of Poland by Germany. Soon after, France and Great Britain declared war to the German Reich. The Netherlands declared itself neutral. Hitler, ignoring this status, invaded them, eventually to bypass the Maginot line that France built to protect its borders with Germany. On May the 10th the Netherlands got invaded, without a formal declaration of war. Because of the strength of the army of the Reich, the German army proceeded fast into the Netherlands, and the battlefields came closer towards Bergen op Zoom. At the same time French and British armies were approaching the Netherlands to prevent the Germans to reach the France. This is why the armies of the latter joined to help defend the city of Bergen op Zoom and they placed antitank artilleries in several places in the outskirts of the city.
journey to concentration camps such as Auschwitz and Sobibor. Just a few jews managed to hide: more or less twenty Jews of Bergen op Zoom managed to survive out of the 43 that lived in the city in 1930. After A.J.L Julten Was freed of his imprisonment in 1943 he started one of the few resistances within Bergen op Zoom. In the night of 4 march 1944 the resistance group of Harm van Rossem and Piet Juten organized a raid on one of the distribution offices in the Potterstraat, with the help of two contributors. Sadly this didn’t succeed, seven of them were arrested. During another raid in Groningen Harm van Rossem and Piet Juten were killed. Anton van der Waals, known spy for the German Sicherheitsdienst (SD) betrayed many of these resistance groups. Forty-five activists of Bergen op Zoom were imprisoned in concentration camps. Only a few of them survived their imprisonment.
In the morning of May 14th the German army attacked Bergen op Zoom from Halsterseweg, in the north of the city, but the Allied managed to block this first attack. In the afternoon of the same day there was a second attack, assisted by mortars and flamethrowers. Bergen op Zoom got captured by the Reich and that same day Rotterdam was bombed during the Rotterdam Blitz. Germany gave an ultimatum to the Netherlands to surrender or else there will be other cities bombed throughout the country. The next day the Netherlands capitulated to Germany. The German restraints got tighter and tighter and the Jews persecutions followed quickly after. Every Jew was ordered to register at the city hall and all Jewish officials resigned to their jobs. The government of Bergen op Zoom did what their occupiers told to. The only known resistance who supported the Jewish community was the newspaper De Avondster. This newspaper was owned by A. J. L. Juten, who got imprisoned after he criticised the the occurrence of the Bergse WA (the operability department of the National Socialist Movement). “Then the persecution of Jews started, then yeah… There were a few of them in Bergen op Zoom and they had to go into hiding, but what did we knew of going into hiding?” Two years later, on may the 2nd 1942, the German law forced every jew citizen to wear a yellow star to recognize them. Since that law every citizen of Bergen op Zoom knew who had Jewish roots. During that period Bergen op zoom and environs counted forty jews. That same year, in November, they started the first deportations to Germany. At first they got sent to Jewish districts, later on they were sent to Westerbork to continue their 5
1.1_Location of the story Louis Hector is the historical researcher of the team: he did some book research and, to be more comprehensive, asked several people to get specific informations that could allow us to be as connected as possible to the city of Bergen op Zoom. He interviewed Elly Wisselink, a woman of 61 years old, who is one of the hosts of the historic monuments of Bergen op Zoom. She told him that she remember there was a butchery in the city centre, in the street called Steenbergsestraat. This street is one of the most important of Bergen op Zoom: this part of the city was interesting to us because it has several great old buildings, typical of the old dutch architecture. In Steenbergsestraat there is also a little square called Beursplein, which is located in front of the historic museum Het Markiezenhof. The latter is one of the monuments that represent the city of Bergen op Zoom: it is an old castle of the 15th century. At that age it was the residence of the marquess that lived and ruled the city: it worked both as a residence for the elite and as a civic center for the marquisette. Since the beginning of the 18th century the castle mostly had the function of a military hospital, while from 1819 until 1955 it had the function of military barracks. After 1955 the government of Bergen op Zoom took the property and made a museum of it.
“The Gendarmerie was just around the corner of the street. So we were exactly in the mouth of the lion.�
Louis and Michele, the director and writer, searched for a house that could lend itself as a butcher with a scenery that could give a good feel of Bergen op Zoom. We found a groundfloor space, in the corner of the Square, which is diagonally located of the entrance of the court. This position fitted perfectly our needs for several reasons: some of them were worth for storytelling reasons, while some others they were so for location and history causes. Starting from the latter group: we knew there was a butchery at the time in that street; this very part of the city has the very peculiar dutch architecture; and the location, that at the present time is a pub, fit really well the imagine that we had of Cor’s house, which is connected with the butchery. Storytelling wise, Cor herself said how the butchery was near to a building which had a military function function during second world war, and we wanted to keep this element, that added some tension to the narration.
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1.2_Nazi portrayed by Jews Contemporary depictions of jewish victims are not accessible, because they either didn’t exist or were destroyed by the Nazis. But several interviews with contemporary witnesses in Villach from the Kristallnacht gave a clear picture of how the Nazis acted. Jews experienced how a “group” of Nazis broke into their houses, destroying dishes, throwing everything to the ground, cut curtains and pictures. They destroyed as much as possible. Even jewellery was thrown out of the window. Things that were too big, like piano’s and furniture, were destroyed first with hammers or shoes and then thrown out of the window. The common image of the National Socialists is being confirmed here. They were cruel, disrespectful and raged like a storm when destroying the Jews property. One story that depicted well the behaviour of the Nazi regime is the following. A young girl was afraid that she and her mother would be deported, because her father was jewish. The girl’s uncle who was a nazi told his party comrades that the girl is the daughter of an italian and was born before her mother married the jew. This story saved her life.1 The painter Luc Tuymans, born 1958 in Belgium, lives and works in Antwerpen. He is not a contemporary witness and did not experience the trouble jewish people had to go through in World War II and before. But he had to deal with familial disputes since his maternal family was fighting against National Socialism while his paternal family was connected to them. These disputes influenced Tuymans’ works.2 His artwork “Der Architekt” shows a strangely naïve situation of a skier who seems to just have fallen down, no serious accident though, but he has no face. Instead he seems to have a white mask. This picture is based on video footage that shows Albert Speer, Hitler’s chief architect and Minister of Amarments and War Production, on a ski vacation. Tuymans intended to show that this powerful and cruel man had a surprisingly normal life and was “just” human. By blending out his face Tuymans intended to prevent people from identifying with this character. Speer looses his identity on this picture. Maybe Tuymans also uses the fact that he was at the top of a mountain, skiing down and falling as a metaphor of Speer’s life. Tuymans created his work ‘Himmler’ from a very, very small photograph of an official portrait photo, which hung in many offices. Tuyman resized the picture to its original size, but did not attempt to put in more details than there were visible in the small reproduction. The face and many details are blurred, which would make the person unrecognisable if there wasn’t a title. He is primarily responsible for the holocaust in Germany. Visually only a mere shadow of history is left. Tuymans chose similar depictions like in “Der Architect” for his artwork “De Wandeling” from 1989. It shows Adolf Hitler accompanied by five people on a walking tour. The combination of the colour black and yellow has many meanings, they are typical colours for caution in daily life (like warnings for electricity or blind person’s armband) and in the animal kingdom poisonous and dangerous animals warn predators. These are also the colour of the jew armband. Instead of expressions the figures have only empty yellow faces and it is not
possible to spot Adolf Hitler among them. Tuymans used a photo reference for this artwork as well. The photo was shot at a time before war. So it seems very peaceful but he suggests the approaching danger in his colour palette. In a later artwork, also called “De Wandeling” from 1992, the figures are more clearly depicted. They are Hitler and Speer. Still we don’t see faces, so we don’t know who is who. They stand at an abyss watching the landscape. In “Parachutisten” Tuymans depicts paratroopers, which does not become clear by seeing the figures, because they lack faces again and have no symbols on their uniforms to make clear who they are fighting for. But Tuymans says they are german soldiers and he wants to play with perception and circumstances. But also the lack of faces supports the spirit of troops and soldiers loosing their individuality.3 Another example of the depiction of the Nazi regime is visible in Art Spiegelman’s comic “Maus. A Survivor’s Tale”. According to Timothy Jardim Art Spiegelman’s condensed “his father‘s own experiences with the Nazi‘s (…) into a visual metaphor of a cat and mouse tale”4, where the Nazis were depicted as cats and the jewish as mice. This setting emphasized the mice’s inability to ecape the food-chain. While the holocaust was not a process of nature that developed in years of evolution, the analogy still fits quite well when one tries to empathize with the situation of a mouse. They have many enemies and are not able to fight them. All they can do is run and hide. What is left is that the Nazi-Regime is difficult to depict because it is a sensitive topic. They are seen as monsters, raging through other people’s property, but on the other hand the leaders were just human and people. We must not forget that they were not some kind of supernatural human with evil spirit. They had hobbies like we do and also loved nature. What is left in Tuymans daily life pictures of leading people from the Nazi regime is an uneasy feeling about what is depicted, and the knowledge about the people with the contrast to what they did.
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2_Theoretical Background Animated documentaries are a subgenre within film which combines animation with a documentary (Wikipedia, 2014). This is not about documentaries, movies, or television animation, but real subjects that had most of the times no real footage available. It is also often used for educational purposes from the early 1920s. Mangan points out that when difficult concepts such as poverty pops up and they have to be told to viewers, the easiest answer is animating them (Mangan, 2012).
the same, compared to real footage. All documentaries are made to teach us about the world, but animated documentaries enlarge the range of the way to learn and expand the potential of bringing knowledge across to the viewers (Roe, 2011). The life action footage is compensated by imitated and replaced images. It gives us an improved perspective on the reality, because the animated world is broadened and made more profound than real life footage. Life is too complicated and rich and those aspects are not always available for real life observation. This is reflected in the styles diversity and subjects which are used in animated documentaries.
When making an entertaining documentary about a philosopher, author or linguist without interviewing and featuring archival footage, animation is used (Bernstein, 2013). Most times people choose for hand-drawn animation. Michel Gondry used animation for the film “Is the Man Who is tall Happy?”, wherein abstraction helped him a lot while making the movie. Non-fictive stories are told by innovative new ways of graphical experimenting.
Academic Dr. Bella Honess Roe (Moore, 2010) states that there are 3 differentiations within the animated documentary.
Sheeila Sofian (2005) believes that animated documentaries can impact the audience in ways life action cannot achieve. It is a powerful potential emotional experience. It also cuts the hard edges of the topics and themes. She also states that animated documentaries for her animated films deal with non-fictional material. By telling events on a personal level and in a dramatic way, the audience can be much more emotionally affected than with photographs and interviews. As an animator, you can interpreted personal experiences in your own way. Every story has his own atmosphere and textures and animation can give the stories a personal touch.
3. Expressive films, based on the artists personal view, like Jonathan Hodgson’s “Feeling My Way”.
Furthermore, cartoons are associated by most people with a medium for children or even for propaganda. Even the audience has to get used to the idea that animation can be used as a documentary, probably because they have never been exposed to the non-fictional animation medium before. According to Paul Ward an animated documentary can be perceived as any documentary wherein animation is used or even animation films which have some features from documentaries in them (Ward, 2013). Within this article, one reviewer even denied that animated documentaries even exist. Later on it is compared by Jonathan Rosenkrantz as the differences between a photograph and a drawing, which states that animated documentaries do exist. It is just a different way of documenting, but different nonetheless. Paul Ward says that the Documentary is also associated with truth and represents the real world (Ward, 2011). And that animation on the other hand is associated with imagination and flights of fancy. He compares the documentary like Gregory Currie makes the distinction between photographs and paintings. Herein the camera of the photographer records what is in front of it and not the thoughts about the photographer. With painters, they paint what they think they see. With the animated documentary, that is quite
1. Mimetic style, like photo realistic “walking with dinosaurs”. 2. Non-mymetic style, based on reality but not real, like Aardman’s “Creature Comforts”.
The medium of animation is most times associated with children, which makes animated documentaries different from how people actually see it. Honess Roe also questions what animated documentaries can often do what life action can’t. According to Moore, it can for instance be used to bring unique perspectives to the subjects. Sometimes animation is only seen as a tool for communicating subjects. Moore says that animation has far much more potential than explored nowadays, but is glad the medium has been recognized. Moore explored also the audio part of such artefacts: in fact, she wrote a piece about how sound adds to the documentary (Moore, 2013). She gives as an example the movie “Council”: herein the indexical sound of the voices of the people who were interviewed was so badly recorded, that there were discussions about whether to let the sound be recorded by voice actors again. Later it came known that it’s not about the original voices, but the indexical trace of the words and whether to which material the audience will connect better.
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2.1_Case studies Waltz with Bashir, Ari Folman, 2008 Waltz with Bashir is an animated film that tells the story of Ari Folman himself when he was fighting for the Israeli army in the Lebanon War. Several years after, the main character has forgotten everything that happened that night, and during the movie we discover that he took part in the Sabra and Shatila massacre, in which a number between 762 and 3,500 civilians died by the hands of a Lebanese militia. The movie present several interesting stylistic and narrative choices. The final scene, as our short, uses some real footage to underline the fact that the story told is not some kind of invention but is true, happened for real, even though the visual style may not be extremely realistic. This lead us to the visual poetry used in the movie: the events told are real and very dramatic, but nevertheless the director managed to visualize them in a surreal, and in certain moments magical, way. Another interesting element of this documentary is the way the narration is developed through the movie: we don’t know, at first, what it is about and the drama of the story is slowly and constantly revealed to us.
Persepolis, Marjane Satrapi, 2007 Persepolis is a French Iranian animated film based on Marjane Satrapi’s autobiographical graphic novel of the same name. The film, written and directed by Satrapi and Vincent Paronnaud, follows the story of a young girl as she comes of age against the backdrop of the Iranian Revolution. In this movie we can find several themes that are recurrent through the whole story: the role of memories in shaping the present; the role of the family as a safe place; taking the ethical choices out in public and fight for them; love and couple relations as those forces that we can’t control and are able to destroy us, but also give us incredible joy. In this context, the most important connection with out short is the role of memories. Satrapi tells visually her own story, while we tell memories of another person. Nevertheless, we choose to use a visual language which, sometimes, is really close: both of the movies are not realistic, but are based on real events. We choose, as Satrapi did, to insert some magical and supernatural elements to stress certain part of the story. In Persepolis the most obvious one is her dialogues with God and Marx, while in Cor’s story it is the System itself.
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The nature of war, The Raunch Brothers, 2014 The nature of war is a USA short movie, funded by the Corporation for Public Broadcasting and POV. It tells the story of Justin Cliburn, an Oklahoma Army National Guard member who deployed to Iraq. While serving in Baghdad, Justin formed a friendship with two Iraqi boys who lived nearby. In the audio track, Cliburn speaks with his wife, Deanne, about the lasting impression the boys left on his life. The style of the animation is cartoonish and quite essential, aimed to provide a human and emotional take on the cruelties of war. In this short film too, the focus is more on the interactions between the characters and what the feel more than representing the war in a realistic and historically accurate way.
A is for autism, Tim Webb, 1992 A Is For Autism is a short movie by Channel 4 Television to explore the condition of autism with words, drawings, music and animation all made by people with this disability. The technique of animation offered the possibility to combine work from a number of autistic contributors and to engage the common television viewer with the experiences of autistic people. Drawing created by autistic people originated every design in the short movie, while the voices over are spoken by the small amount of people with autism who are able to recall and structure their experiences and feelings. The piano and flute music on the soundtrack was also recorded by two autistic performers, in particular the first is also composed by the same person. “Tim Webb researched the project for a year, reading academic studies, collecting authentic work by people with autism, talking to workers professionally involved with the condition, and meeting autistic people and their families. A is for Autism was then made as an ‘animated documentary’ based upon contributions and collaborations with autistic people which gave them, quite literally, a voice of their own.”
Poor us, Ben Lewis, 2012 Poor us is part of the Why Poverty project of BBC, which was an attempt to explore the reasons why there are so many around the world living in desperate poverty. Produced by Submarine, the documentary mixes several techniques: cut outs, 2D animation, and live action. This is aimed to allow the producers to visualize every single part of what is being told. In this direction we can see another example on how animation is seen as a tool to represent something that can’t be filmed. The narration has a quite inyteresting balance between two extremes: at one side there is an academic documentary, while on the other there’s an incredibly emotionally driven storytelling. “The animated figure swooped and flew and mutated from hunter-gatherer to early farmer to Inca ruler to African native to 18th-century Chinese peasant to ceaseless labourer in the dark satanic mills thrown
up by the industrial revolution, to starving victim of Mao’s Great Leap Forward, to recipient of western aid (and repayer of western loans) to member of the increasingly poor and frustrated underclass in the European city of your choice.”
The darra dogs, Dennis Tupicoff, 1993 Dennis Tupicoff describes with this words The Darra Dogs “One day my four-year-old daughter said that she wanted to have a dog. In trying to explain to her my feelings about dogs, I realised how much the dogs of my childhood still haunted me. These memories were still so clear and strong that I drew them into animated life.” The result of this introspection is a bold, high-contrast visual style that well matches with the attempt to visualize the author’s inner fears and memories. The use of color follows strictly the emotions that are told in each sequence: when there is a light-hearted memory, there’s a strong use of pastel colours; while when the story reach the points in which the author had some kind of trauma, the images turn in black and one, strong, colour.
Creature Comforts, Nick Park, 1989 Creature Comforts is a franchise originating in a 1989 British humorous animated short film of the same name. The film describes how animals feel about living in a zoo, featuring the voices of the British public “spoken” by the animals. It was created by Nick Park and Aardman Animations. The film later became the basis of a series of television advertisements for the UK electricity boards, and in 2003 a television series in the same style was released. In the series the format took a different direction and every episode had a theme, making it some kind of social criticism.
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3_Concept The structure of this chapter follow the path that we took from the interview registration to the final script and visuals. The first thing we did was to listen to the short cut of the interview, of about three minutes, that Beeldtijd provided us. Viviane Leezer, who was in charge of the storyboard, took also the task to write down the interview and translate it into english. This last task was necessary because of the composition of the group: out of seven people, four were not able to understand and speak dutch. After this linguistic parenthesis, Michele Crivellaro, the director and writer, analyzed the interview, so to highlight certain themes and parts that could have been interesting for the development of the story. Then three of four people made several mood boards, from which we started to fix some basis for the script, and look & feel. Michele wrote the first draft of the script: based on that Viviane made the storyboard and several people made some concept art. Out of the fixed points we had at that moment, Michele reviewed the script; Theresa Shade and Selen Kilinc made the characters design; Theresa and Samantha Schoonen made the final style frames, out of several days of exploration by every member of the group. In the end, the script was reviewed again.
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3.1_Story During the development of translating Cor’s story from dutch to english we analysed the story in order to find out what the essence was and what the significant elements were that Cor was trying to convey. What message was Cor trying to communicate during her interview? Communicating the core of the story better, meant deleting some parts of the cutted interview that didn’t accurately brought the message across of the themes. We removed a part of the movie that was cutted and given to us. This was a small part about an American pilot that crashed and also went into hiding with Cor. We removed him because of the added confusion that we had to tell in our story of how he crashed and that he was an American. This was all extra information that took us out of the flow in the story and would not add something extra. The jews in itself were enough to portray the fear and victimization during that time. Cor also talks about him too unclearly in the movie. If we could not understand what his situation was during the interview neither would the audience if we were to animate him. It was also of importance to watch through the original whole one hour uncutted version of the interview of cor. So as to get us more involved of the world of Cor and if we indeed got the right impression for our story. The challenges with documentaries is that you want to tell correct information accurately while still keeping it entertaining. If you tell the facts too strict then the audience won’t watch it with interest. Tell the information with too much fantasy and the facts that you would be teaching to your audience wouldn’t be valid. We had to strike the right balance with educating and entertaining our audience. While watching the original uncut one hour version of the interview a few facts surfaced above about Cor’s situation that we weren’t aware of in the cutted version that was given to us. Cor herself was 23 and her husband 17 at the time of the war. They already owned a butcher shop and had 3 children. Cor kept her children unaware of the fact that they were hiding jews and told them that they were family members so as to protect them when a nazi might interrogate them. This information was relevant for designing Cor herself, to design her at the right age. In previous storyboards Cor’s children were shown but since it appeared that the children did not know of the situation that their mother was hiding jews, they were cut out in the final movie. They didn’t know with what their mother was struggling with, so they didn’t needed to be shown. The husband was cut out as well since he was not discussed at all during Cor’s interview. This gave us grip in really showing Cor, The jews and the system as the main characters. Cor also tells of a small bell. That when an unexpected house search came, Cor would ring a specific bell to inform the jews to hide in the hideaway through the closet. She also talks about a family in this interview that she helped hide. This helped us better focus on designing whom the jews were in our process. Cor’s world was also more isolated than we thought. Cor indeed used her house as a safe haven. Here she was save but it was also her prison as she could go no where else.
Since the Second World War happened in a time where communication was limited Cor hardly knew anything of the outside world. If something happened in America or something about the war itself she would only be informed about it weeks later. In this day and age we would know immediately when something is happening. It wasn’t also that crowded where she lived. It was small and personal. Everybody knew each other. Again giving a dangerous vibe that when people gossiped it was genuinely dangerous. There were struggles with the translation. Sometimes Cor talks with a heavy accent that even dutch people can’t clearly hear about what she is talking. Translating terms like the Feldgendarmerie or Feldjäger (the uniformed military police units of the armies of the German Empire) was hard to do because of Cor’s accent. We also didn’t knew that Bergenaren meant the specific people living in Bergen op zoom. Soorten wardezij was equally difficult but very relevant for designing our character. It apparently means Bergenaren that had openly joined the nazi’s in their pursuit of jews and they wore specific black suits. They appeared to be even more aggressive. The stories core elements, as we interpreted it, revolved around Cor, seen as a woman that does the right thing. The main clash, therefore, revolves around the woman and the system, seen as an entity that is composed by the sum of the Nazi in the Netherlands, the Dutch armed forces and the collaborationists. At an emotional level, we wanted to make the audience feel the tension that Cor should have felt when hiding some Jews in her house in such a historical time. We imagined that the main emotion that she should have felt is fear of being discovered and of losing everything that she had and loved: her husband, and her children. The aim was to explain at the viewer this terror, which is already quite clear in the words that she says, in a visual way. We also thought that the home of Cor, in such a situation, would appear at the same time as a safe place to hide and spend time, but also some kind of prison, from which she could not escape, because of the dangers of the outside world. To tell this perspective, we choose to have two narrative points of view: one is Cor herself, the other one is an imaginary Jew boy, part of a family that she was hiding. We felt this was necessary to make the audience feel the narrow spaces in which they were hiding and this sense of powerlessness that they must have felt. The script, therefore, follows this track: we used the transcripted file of the speech of Cor as a skeleton of the story, trying to match what is being told. The story follows Cor welcoming in her house a family of jews and hiding them in the false ceiling of her house, that can be accessed by a hatch in a wardrobe in her living room. After that, she cooks something for her family and the jewish family. We follow then the point of view of the Jewish boy, that finds a hole in the false ceiling and sees what is happening in the living room. The main clash that takes event: the system enters in the house and searches for the jews. After creating some tension, he leaves, leaving Cor alone. We decided from that moment on to fade to the original interview, so as to stress the fact that it is a true story and that she is a real, living person. 15
3.1.1_Interview The Feldgendarmerie or Feldjäger were just around the corner of the street. So we were exactly in the mouth of the lion. Then the persecution of Jews started, then yeah… There were a few of them in Bergen op Zoom and they had to go into hiding, but what did we knew of going into hiding? And from 1 person it became 2 people, and then it became 4. The number of people that came into hiding with us just continued to grow. How did this all get started? Yeah, that something personal of course. And you do that or you don’t. Yeah they were just acquaintances of ours, and then we gave them the option to go into hiding at our place. But that wasn’t very easy. Because then you began to feel the threat of how dangerous it was. That would mean that we and our children would be shot dead on the spot, there was no proces. We had very good hiding places or else I wouldn’t be here right now. The hiding places were in the ceiling upstairs, and we had a huge closet with an hatch so you could come between the walls of the ceiling. This is proven to be a good method because we had the Germans checking us twelve times. They would come inside with the revolver in hand, when I saw them coming at me oef.. How could you endure that? They sometimes struck the walls with their bayonets. And then there was this one time when I had Bergenaren with a house-search. They were with the four of them. Two of them were of the Feldgendarmerie and the other two were Bergenaren through the soorten wardezij. And there was one of them… And I thought to myself ooo man if he just keeps looking forward.. Because he was onto us. He thought there had to be something. At least that’s what I thought he was thinking. I’m getting nervous just talking about it. Because why did we got so many house searches? Yeah… Because of betrayal, the biggest enemy. One of the talk going “hey have you heard?” Yeah I’m saying again you go do it or you don’t. And you could say like “hey I don’t care about all that, you figure it out” but you could also be a decent person.
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4_Pre production The pre production started with a visual exploration of the possibilities that we had to try to define and for which visual style we were going for. To reach this aim, we developed several moodboards: some for the historical background, some for the mood, some for the style and colors and some, in the end, for the characters design. From that we developed the storyboard and the concept art. For some problems in defining the mood, we had to review this last step several times.
4.1_Moodboards Before concept art began, several moodboards were developed to figure out which kind of style and mood suited the story of Cor. To generate as much ideas as possible, five people developed moodboards for Beeldtijd. Based on those moodboards, discussions were made. The first step in this process was about defining the setting and the mood of the animation. Some of them were developed to get some ideas about the environment and the setting of the story. For in the story, some Jewish people were hiding. But what would a hiding place of a Jew look like? To tackle this subject, one moodboard was developed to get some ideas of those hiding places. Next to that, a moodboard about emotions was developed to get to know the emotions and horrific feelings of the Second World War. The second step in the visual research was to define the style and colours of the animation. There were some different ideas about the styles and colors we could use. One of them was the film genre Noir, wherein nice kinds of light were used to tell the story. Next to that, we looked at flat design with nice water coloured textures, which really looked nice, but where to joyful to fit the movie. And some illustration line art using the colors of the German flag. Next to that, by making moodboards, we also researched what kind of colors we could use for this style and setting. Another idea was to use shadow puppets against some colored backgrounds. Many people liked this idea, and especially the kind of style which was used in the animated part of Harry Potter movie: The Deathly Hallows Part 1. So we decided to go into that kind of a direction, also using depth and shadowplay. The color which was decided upon had become sepia, this to match to the color of old photography which was also used in the time of the second World War. And also to give the movie some kind of warmth, because most of the story takes place indoors. To get some more grip on one of the main characters, knowing the enemy, some ideas were gathered together. This to clarify movement, look and feel, and how much alien our character could look like, for this was a bit unclear to us in the start of the project.
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4.2_Storyboard We had to storyboard our scenes before it was established how the characters and environment were going to look like. It was completely focused with how our story was going to flow and if the message was comming across. Later on when the environment and characters were final we came up with a scene layout based on our storyboard to quicken the production process of animating and finalising the angles of the camera’s.
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4.3_Concept art During the development of the projects, concept art and style frames were generated to see what kind of ideas everybody had. Lots of styles were generated based upon the moodboards discussed before. Based upon these style frames, some democratic and well argumented decisions were taken during meetings to get to the final style. As you see here, a lot of different ideas about the characters were put to the paper. Some of those designs were too difficult to animate because of too many details, like eyes and hair, but also the kind of light used to shade the characters. The characters have eyes that glow. This works great for the monster, but not for the shadow puppets. Also in one style, the character was white, but while putting it in as a white shadow puppet, it kind of looked like a ghost and didn’t work out. Next to that, the contrast between good and evil was enlarged by this concept. For the final style frames, we had an internal discussion and decisions taken on the first concept art. For the color palette, we decided it had to be yellowish sepia, to give it the feeling that it was a historic story build out of old pictures. We decided that all normal characters, like cor and the jews got rim lights, to give them more depth and to extinguish the characters and shapes easier. Yet, real outlines were discarded for both characters and furniture. The clothing of cor was decided to be semitransparent. Because of this, in an early stage of development , we already knew Cor her dress had to be on a separate animation layer to get that working. Only the Nazi got his glowing eyes which were red in the start, but sepia suited better in the end. Also there was decided upon whether the nazi would infect people. We decided the people who were infected by the system weren’t touched by the Nazi, but only started to smoke like the Nazi. The environment got the kind of lighting effects used in the “Tale of three brothers” within Harry Potter. The light had to be a bit dusty to get depth into the image. But afterwards this also was discarded because of that animating light would take too much time in the end. A grunge texture would be added to the background layers to give it a more crispy effect.
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4.3.1_Backgrounds The backgrounds for this project were based upon the design of the house. We started to define the design of the house in its position (see 1.1), the floorplan of the house, the environment and the type of rendering we wanted to use. For the concept of the house several sketches and ideas were generated, also based upon architecture of Bergen op Zoom. There were a lot of discussions whether the story would take place on the ground floor or first floor. The ground floor was eventually chosen, so that the Nazi would have a bigger impact and the danger would feel much closer by having him walking outside the window on the ground floor.
Studio Max, in two days time. When the whole scene was ready for rendering, we tried to make some test renders, using lights. This was discarded due to the fact that we also would have to add nice sharp shadows to our characters. For this reason we went for a mix of rendering in ambient occlusion and z-depth, which gave us an interesting result when we combined the final shots in Adobe Photoshop. Then we decided to go further on this direction. For the final shots, all animations within the interior were rendered out twice, once in ambient occlusion, and once in z-depth. Furthermore, the backgrounds of the exterior were rendered seperated of the house when applicable. We made this to make layering in Adobe After Effects more easily and be able to put characters on the outside of the house between the layers.
The floorplan of the house was finally based upon an old butchery location in Bergen op Zoom. The room was divided into two spaces, one knowing the living room and the other one, the butchery. Both rooms were connected by a door on the inside. All the developed interior design was based upon the very first scripts and the storyboard. The table was positioned by the window, because of the plates of food which had to be picked up there. The closet was situated straight against the door in the story, and it was a walkin closet according to the script. Yet afterwards, from the interview, it came clear that the closet used to be a bedstead. This give a separation between the closet and the kitchen by a wall. Next to that, the children were playing behind Cor, when she was opening the door for the Jews. That was why the living room was designed in a diagonal line with a carpet where the children could sit on. A door to the butchery was necessary and placed into the living room, so that no furniture was in the way. The whole interior changed in the final floor plan. This happened because some furniture elements did not have to be near to each other and Cor’s children were deleted out of the script. The closet did not have to be opposite the door and was placed against the wall near the door. The lowered ceiling still had to be near the door, because of the storyboard. To give Cor some more space near the window of the door, the living room was moved over there. The dining table was moved to where the kitchen used to be. This because the kitchen took care of a nice separation for the living room. After the floor plan was approved, the whole interior was modelled in the modelling program Autodesk 3D Studio Max. It took three full days to model all furniture and put it into place. Once the location and position of the house was determined, it was time to build the surrounding area. The exterior was based on the square Beursplein, located in Steenbergsestraat. We needed photographic reference in order to be able to model the area accurately, the photos were taken in Bergen op Zoom in a previous scouting of the area made by Louis. It was important for the exterior to be as close as possible to the reference material because we wanted the audience to be able to recognize the place where the story was set. The modeling of the surroundings was done by Elena in Autodesk 3D 29
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4.4_Character design 4.4.1_Cor For the character of Cor we wanted to be as authentic as possible. That’s why we analyzed her character that was given to us. Mevrouw Cor vanden Boomen is telling the story of her past herself. So the interview was intended to support the authenticity of our story, but it also helped us to analyze the character. The way Mevrouw vanden Boomen talks about her past, of what she did gave us a solid base to work with. Although this is not enough information to depict the real Cor, we tried to be as realistic as possible. Still it was difficult to characterize her movement. We assumed that Cor is self confident and very brave for taking a high risk at a dangerous time. But still she was not in a powerful position, because in the end, the Nazis were the ones who decided about her fate. An image that came to our mind very quickly was the idea of a mouse-like movement (see 1.2). Unlike in Spiegelman’s Comic, Cor is not a jew that has to hide from the Nazi. But still she is in danger and has to be careful and clever, because after hiding the jews, she is in a very vulnerable position. Since we have a serious theme and the movement was not supposed to be too cartoonish, we tried to have a good mixture of human-like moves with the hint of a mouse. Therefore Cor’s movement is careful, in one moment slow, then again quick, then slow and very alert. For her visual appearance we researched typical fashion of the early 1940’s. Cor has a contemporary hairdo and dress. Another important factor was of course, that she fits the style we chose for our animation. Since everything has to be recognizable in silhouette, Cor’s shape had to be very distinctive in nearly every position. That’s why her arms, legs and neck are very thin. It help to recognize where a certain body-part begins and ends. Her hands and feet are small to make a feminine and also emphasize the idea of a mouse a bit more.
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4.4.2_Nazi The system, as we called it, was the most challenging creative process of the whole project. It all started with the idea to not visualize the enemy as a stereotypical Nazi, because we felt it would have been a cheap choice and that it could not represent the complexity of the reality of the Netherlands under the German control. Another element that pushed us to go in a different direction was the words of Cor herself, in which she says how betrayal is the biggest enemy. We felt that what she wanted to say was that she felt that the major threat, for her, was not being under the German occupation, but the fact that Dutch people collaborated with them, mainly to hunt down Jews. Therefore, we arrived at the concept of making the enemy the system made of the sum of Nazis, Dutch armed forces under the German control, and collaborationists. Achieving this aim, though, was not easy. We decided to go for some kind of abstract and supernatural entity, with no use of symbols: we thought that the Swastika had a visual power too big to represent something that was not strictly the Third Reich. The main challenge, in this case, had been the one to balance something that had to relate to reality and the creative vision that we had in mind. The first concept was a humanoid figure that was able to transform parts of his body into animals parts, such as the head in a wolf and the hands into snakes or claws. We after found this concept a little too much, and after we shrank it down into a humanoid figures that floated on smoke and produced a hissing sound. When we pitched it with the client problems started to come. They found the concept idea really appealing, but the visual realization a little bit too fantasy looking, in particular in front of the fact that the target audience is 12-15 years old. In fact, this concept seemed came out from a Harry Potter book, something in between the dementors and the death eaters: in a few words too spooky. Beeldtijd pushed us to make it more humanoid or more abstract, this way inbetween did not work for them. The main reason to go in the first direction was to educate the young public that the enemy is not some abstract entity, but it has a human face. Nevertheless, the concept of an anonymous human being that does only what he is told to, was very fascinating and it would reconnect well to the black figures with no expression that the jews themselves draw during the second world war. They tended to kept the faces open and inhuman: it was about the emptiness and the nothing. Another direction that we explored was the one of an alien like figure with glue or slime coming from it, but we rejected it due to the the science fiction feeling that it had. The final look was then the one of a military figure, that sometime transforms itself into a smoke entity. The struggle was then to make the smoke coming from the system not too much different, stylistically, to the rest of the animation. We went for some After Effects generated smoke with some filters to make it more cartoonish.
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4.4.3_Jews The process of designing Jew characters was based on the research of the fashion style of 1940’s. Instead of focusing on assimilated characterization feature of Jews, we focused on the general fashion styles at the time period that they live. The interview, which we were dependent on, did not have an apparent description about how the Jew characters looked like. That is why random image combinations of 1940’s were the only option to design characters. In addition to this, the main style of the animation was based on shadow characters and silhouettes. This limited us to create distinctive features for characters and at the same time it is creating unity in the general concept. Related with design issues for characters, main character Cor was already designed. So rest of the characters just need to be adapted to Cor in terms of using main characteristics such as thin arms, neck and legs, minimal proportions, etc. This design choice is also very helpful to create distinctive position in the composition. While designing the father, the hat and jacket is used as a distinguishing and masculine feature. Also he has wide shoulders and a long neck compared to other characters. The mother on the other hand had minimal proportions like Cor, but she had a different type of dress and hairstyle. The little Jew girl looked like a smaller version of her mother and again with different type of hairstyle and dress. Knitting of the hair was one of the most common styles for female children at that time. Lastly, the little Jew boy mainly had distinctive hair style too. He was also apparent at other scenes and his hair was used as his utmost characteristics in design. In general, for this project one of the aims of designing characters was about creating unity between them. The other one was reflecting their personalities and psychologies through their outlook. The main characteristics of these characters in based on how powerless and desperate they were. It can be said that the general outlook of the characters and how they move is an indication of these feelings and aims.
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4.5_Scene Layout When the interior of the house was done in Autodesk 3D Studio Max, the character development was done and the moving storyboard got his final version, the scene layouts were produced. We waited until this point to get the final camera angles of the Autodesk 3D Studio Max interior matching up with the story and characters within the scene. Also to give the animators a guideline for how it could be animated. When all the scene layouts were done, and after some feedback, it was decided to let those images replace the images within the moving storyboard. New layout images were made to fill in the gaps of moving characters within the new moving storyboard. The images were firstly timed upon the old version of the moving storyboard. This didn’t work out the way we though, so some adjustments were made. For example, before the System scratches the wall, he not only moves around but also throws over a chair and a lamp to give the System more impact. Because of this, Cor also had to put the chair up straight before sitting down. After two versions, all was approved and ready for the production of the final animation.
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5_Production The production was mainly made in TVPaint Animation and revolved around a tight schedule in which every person had a role and every shot was broken down in several steps. We invented guidelines (called the Little animator’s handbook), to give us an overview of the production. So every teammember knew exactly how to color and animate while working together.
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5.1_Workflow The scheduling was made in Google Sheet to process every information. Every shot occupied a single line and every column represented a different step or information in the making process. We had the following steps to do for every shot: keyframes, in-betweens, line art, and coloring. Everybody had one task, every step was assigned. Because of the tight schedule, when someone was free, he or she asked to someone if he could take the assignment. Also when a shot was put on delay, someone else could take it over easily. Everybody knew what had to be done and what was done, needed review or was in progress. Because of this, it was easy to see when a shot was being worked upon and when somebody else could do the next step in the process. For the CGI artist, who had to do all the animations for the background, renders could show when her shots were checked and used and make the final renders based upon those. The composer could start composing a shot when all CGI renders and TV-paint files where finished of one scene.
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5.2_Issues There were a couple of issues, that in the future should be taken taken into consideration before starting production and even pre-production. Organization was a challenge as everyone was eager to participate but because of the number of people involved in the project, at the beginning everyone wanted to have an input on the story, character design, storyboard. This lead to decisions being postponed, which took time from the production schedule. Once the head of each department was in charge on making the decisions instead of all the members, things went a bit more smoothly. The complexity of the roles in the group required a well developed schedule, otherwise everything can easily turn into a mass. In the production, the number of the frames for each scene, the render processes and the division between workload was considered beforehand but the workflow being so dependant to the one another led to some issues with deadlines. Because the in betweener had to wait for the keyframer to be done before he/she could start their part, led to ‘free’ days for the in-betweener but as a consequence the next day their workload increased because all of their assigned keyframes were done at the same time. The experienced people in the group were are able to maintain the deadlines set in the schedule, yet the time limitation appears as a barrier in front of everyone. In addition to that, holiday break caused a stumble in workflow for everyone, which stretched the process of production which led to working overtime. In this project, hand-draw animation was new and the majority of the members needed a learning curve which caused some delays in the already tight schedule. One was the ability to draw each character and whether it was their first time being a keyframer, in betweener, line-artist or coloring artist. The other one was in regards of the instructions on how to draw the lines on the different stages of production, in some cases made it difficult to the following-up artist to do their part and gave them extra work. Some people were faster than others for line art and colouring, some were not. In short, it was a new experience for many people to see how they can work in organized project with other people. When considering all these problems, the best solution would be having more time to work on it by changing deadline or timetable. Many people worked with self-sacrifice by not doing anything else besides working on this project on a regular basis. Nevertheless, everything worked fine and well at the end.
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6_Post Production For post production, everything made within production came together. This included the rendered out CGI graphic (animated) backgrounds made in 3D Studio Max and the animations from the characters which were drawn in TVPaint. Most of the tv paint files, layers were exported separately as PNG sequences to get the right character in the fore or background between the CGI background renders. Within Adobe After Effects, every scene was composed separately and then added to the final composition. Within those separate scenes, the background and characters were added. The System got his glowing eyes and smoky figure. The smoke was generated using a plugin for After Effects and then cartoonized. The highlights in Cor’s and the Jews’ figures were used twice, once blended out, to make the light more smoothly and once in hard light. The background sometimes was made more darker to get more contrast into the image. Also some backgrounds were blurred out to give the scene more depth. Within the main composition, color adjustments, a grunge layer and a black frame was added for the final look. Also some final camera movements were added here.
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6.1_sound The voice over from Cor was the most important part of the whole soundtrack. Her interview was adapted to fit the moving storyboard and animatic: to do so, some parts were scrapped for making it doable storywise. Also some adjustments were made within the sound program Audacity to let all of the voice over flow nicely together and reduce some noise where necessary. Some sentences and words of Cor were deleted. Those words couldn’t be saved, because the person who interviewed the old lady talked through it. No music was added, but there was chosen for some ambient environmental sound to add an atmosphere to the total feel of the movie. We didn’t want to cover the importance of the interview, but we wanted to emphasize the story and the feel of it. To do so, we added some sound effects in compositing to give the animation some bit more life.
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Conclusions This project, because of its complexity and the fact that a lot of people were working on it, had been a great school for many of us. The learning topic can be resumed in three key areas: technics, storytelling and communication. Because of the big workload of the production the technical one had been, often the most challenging and interesting from a learning point of view. We discovered that hybrid animation can work out great when planned out well, specially color wise. Tori learned that she has to look closer on details and not approve everything too fast, especially because the cleanup process was missing and it was difficult for the people who did the lineart to make proper and anatomically correct characters out of the sketches. Viviane learned a lot about the technical parts of animating Cor’s story. How to key, inbetween and color was an educational process that will certainly assist her in future projects. Especially during keying she actually learned more about acting. That how you should view the character while you are animating. Not only portraying the actions but also what the character is feeling during that said action. Michele really improved his drawing skills, realising that is really hard and it takes time to get it right. The second group of things we learned, are about storytelling, the main people involved here were Michele and Viviane. We learned how to tackle and communicate the scenes towards the team. How to convey the scenes when establishing the script for the team and the client to understand. Also the fundamental points of how you can be educational while entertaining when telling a story (especially a biographical story) were learning key points. From a communication point of view, we realized that communication is key. Tell everything to everyone and make sure it is repeated when it becomes important is essential to a successful outcome. Tell everyone about what is happening in the whole process makes everybody more able to adapt to it. Michele learned the importance to stay focused on what is happening around him and to be precise, because if he’s not, a lot of problems may emerge. We are extremely satisfied for this experience, that even if it has been quite stressful, taught us an incredible amount of things.
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Final credits Name: Michele Crivellaro Project role: Producer, Director, Writer, Animator Portfolio Website: www.michelecrivellaro.com E-mail: crivellaro.michele@gmail.com Biography: Born in Milan, Italy, I studied languages in high school, and after made a bachelor and a master of science in communication design in Politecnico di Milano. In the meanwhile I also studied to become a counsellor. Having done some animation in those years I decided to focus more in that direction, applying for the Master of Animation in Avans. Fond of storytelling, theoretical research, socio-political issues, foreign languages and cooking.
Name: Samantha Schoonen Project role: Art Director, Animator Portfolio Website: www.samanthaschoonen.nl E-mail: samanthaschoonen@hotmail.com Biography: I am a Game Designer, Artist and Web Developer from the Netherlands. I I studied at the Art Academy in Tilburg for one year, and learned many things, like photography, making movies and 2D and 3D design. After that, I’ve studied ICT and Media Design at the Fontys University of Applied Science in Eindhoven with Game Design & Technology as my specialization course. I found Game design very interesting and challenging. I also did two internships in Game Design. One at a small Gaming Company in Tilburg for an half year, which I really enjoyed and my graduation internship in Amsterdam at Little Chicken Game Company. I’ve gained many skills during my studies. Nowadays, I’m doing a Master in Animation at the St. Joost in Breda to develop myself more in the artistic area and for personal development. Moreover, I’m inspired by Game Art, which may be my ultimate job in the future. I enjoy the creative part of my work.
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Name: Theresa ‘Tori’ Schade Project role: Animation Director, Animator Portfolio Website: torheitanimation.tumblr.com E-mail: torheit@gmx.de Biography: After graduating from High School, I did a two year apprenticeship as a communication consultant. I realized that I want to work in a more artistic field, so I did my bachelor in Digital Media - Animation and Game at the University of Applied Sciences in Darmstadt, Germany. I learned a lot about the basics of animation and using 2D- and 3D-tools for my work. After my internship at the animation studio Floruit Films in Berlin I realized that I still would like to dig deeper into the techniques of animation. When I graduated with a bachelor of arts I applied for the Master of Animation in AKV | St. Joost in Breda where I got accepted and which now offers me the possibility to learn more about animation.
Name: Viviane Leezer Project role: Storyboarder, Animator Portfolio Website: www.vivianeleezer.com E-mail: vivianeleezer@hotmail.com Biography: During my internship at Brunotti (a sports fashion brand established in 1979, manufacturing apparel, surfboards, footwear, bags, eyewear and underwear) I discovered that the borders between Illustration and animation were fading. This motivated me to go to the Animation Master of the St Joost after my graduation of the Willem de Kooning Academy for my illustration Bachelor. It is a combination of self-taught and art education that gave me the skills that I have today. Currently I find myself in the editorial and fashion illustration genre but I aspire to become a multidisciplinary illustrative designer. I have always been drawing since I can remember. When I was three years old I turned deaf due to an ear infection, my hearing recovered when I was five through surgery. But till that time, because I could not talk and just barely knew how to write when I was so little, I drew. I always drew what I wanted to communicate to my parents. Even though I can hear perfectly fine now, making illustrations and drawings is still a huge part of my life. It always stuck with me.
Name: Selen Kılınç
Name: Ten
Project role: Character Designer & Animator
Project role: Animator & Sounddesigner
Portfolio Website: selenkilinc.com
Portfolio Website: fillmember.net
Email: selenkilinc@live.com
E-mail: fillmember@gmail.com
E-mail: Biography: I completed my bachelor’s degree on Graphic Design in Bilkent University in 2012. During my education I attended many different courses but I mainly interested in following courses; motion graphics, animation and cinematography. These courses helped me to decide about the direction that I wanted to focus on visual arts. On the other hand I kept drawing and improved my drawing skills by trying different styles and materials. After graduation I kept working as a freelance designer and illustrator. I also had a job experience in both advertising agency and information systems company, which were very helpful for me to eliminate other options and turn towards higher education. Currently, I’m master Animation student at AKV. St. Joost in Breda, Netherlands.
Biography: Work as animator + graphic designer. Sometimes make music & codes.
Name: Louis Hector Project role: Animator Portfolio Website: louishector.com E-mail: louis.l.hector@gmail.com Biography:
Name: Elena Winkel Project role: Modeler, Animator Portfolio Website: eiwinkel.tumblr.com
As a kid I grew up with games and technology. When time went on it improved in an incredibly fast pace. As a designer I am curious for these new development of technologies and use these to generate new possibilities for design, illustration and animation.
E-mail: eiwinkel@hotmail.com Biography: With a Bachelor in Arts from the Autonomous University of the State of Morelos where I studied animation, film and photography. After working mostly in CGI with projects aiming the educational sector and architectural visualization. I felt it was time for a change of atmosphere and craved the handcraft feel of making, for this I needed a space to blend both mediums which led me to applied to the Master in Animation at AKV. St. Joost in Breda, Netherlands. With an affinity to modeling in CGI and craft materials.
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Why Poverty, Poor Us. Retrieved 10 January 2015 from https://www.youtube.com/watch?v=TxbmjDngois Lucy Mangan, TV review: Poor Us – An Animated History of Poverty; Goodnight Britain . Retrieved 10 January 2015 from http://www.theguardian.com/tv-and-radio/2012/nov/28/tv-review-poor-us-animated-history Dennis Tupicoff, The Darra Dogs. Retrieved 10 January 2015 from http://www.dennistupicoff.com/Dogs_ Clip_01.html Nazis in art and history Erinnern, INTERVIEWS - Zeitzeugen erinnern sich. Retrieved 08 December 2014 from http://www.net4you.com/haiderftp/interviews/juden.html Wikipedia, Luc Tuymans. Retrieved 09 December 2014 from http://de.wikipedia.org/wiki/Luc_Tuymans B. Fahrnschon, Die Darstellung des Undarstellbaren. Retrieved 10 December 2014 from ttp://archiv. ub.uni-heidelberg.de/artdok/volltexte/2014/2552 T. Jardim, Animals as character: Anthropomorphism as personality in animation
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