Vibrant and Varied: The Melbourne International Animation Festival: The Melbourne International Animation Festival (MIAF), in Its Sixth Year in 2007, Brings Together Animation from around the World, and Highlights with Pride the Animation Being Produced in Australia

By Markham, Elizabeth | Metro Magazine, June 2007 | Go to article overview

Vibrant and Varied: The Melbourne International Animation Festival: The Melbourne International Animation Festival (MIAF), in Its Sixth Year in 2007, Brings Together Animation from around the World, and Highlights with Pride the Animation Being Produced in Australia


Markham, Elizabeth, Metro Magazine


[ILLUSTRATION OMITTED]

THIS year the organizers brought 350 animated films together, and showed special programs on the greats of Polish animation, the work of American legend Fred Crippen, highlights from Korea's Indie AniFest, two excellent CG programs from ACM Siggraph in the US, and 'focus technique' programs on hand painted animation. The only lament for any animation fan was that, with the festival running over four evenings and two full days and showing programs in two cinemas simultaneously, there was a lot to see and no way of seeing it all.

Puppetry and other forms: Australian focus

If a festival like MIAF acts as an indicator of the vibrancy of animation in Australia, then MIAF 2007 indicates that it is very vibrant indeed. Festival director Malcom Turner wasn't sure why the number of Australian entries trebled this year, but both of the resulting Australian Panoramas showed strength and variety--a satisfying way to follow on from Oscar winning animator Adam Elliot's opening of the festival.

Most films in these programs showed a strong sense of narrative, many a good sense of humour and, though stop-motion with puppets was a favoured technique, there were also some stunning CG and hand illustrated works. Whether a result of the judges' selection or simply reflecting the total entries, the Australian program split almost evenly between funny and sad stories.

Among the funny stories, Carnivore Reflux (The People's Republic of Animation/Eddie White and James Calvert, 2006), based on a humorous rhyme, seemed to get the biggest laughs. Two dealt with animals taking revenge on naughty humans, with Drained (Gav Stevenson, 2005) looking at the topical issue of water wasting. Two other chuckle-producing films were both animated interviews. From Gold to Grapes: The Story of Landsborough (Al Macinnes, 2006) was a particularly interesting work because the animation was based on drawings by the young children who had collected the oral histories in the piece.

[ILLUSTRATIONS OMITTED]

Why most of the sad films were based on puppets of various types is hard to say, but The Designer (John Lewis, 2007) certainly showed how much emotion can be communicated without words, and by characters that have immobile faces. An aesthetically stunning film, with a fully realized story, it was a definite highlight of the Australian program.

There were so many good Australian films it seems unfair to mention just these few, but as a fan of 3D CG animation I have to add a comment on Emit (Fergus Donald, 2007). This film, about an old-style alarm clock wandering through a post-apocalyptic landscape, avoided the smooth surfaces that so often predominate in CG rendering of machines, and was instead bursting with texture.

It is great for the promotion of Australian animation that a highlights program, drawn from the Australian Panoramas, will be taken on the road around Australia and overseas.

A final comment on the Australian programs: while the criteria used to choose films is obviously complex, I wondered how the hundred or so animators who weren't selected felt about the inclusion of two films by one person. Were they really that much better than all those other entries?

Delight and passion: animation by students and the careers forum

The festival included four Student Programs, but the MIAF organizers might need to rename them next year to convince more people to see them. Attending the third program, I was surprised at the low turnout and even more surprised to hear organizers commenting that this had also been the case for the previous two. As these programs weren't generally competing with 'more desirable' programs, I can only assume that people were put off by the idea it was student work. This is deeply ironic if all four programs were as strong as the one I saw. Two of my favourite films from the entire festival came from this program: the touching After (Kim Noce, 2005), a claymation work that explored the dark journey through depression; and the delightful The Mystery of Pig City (Johnny Luu and Garth Jones, 2006), with its 'graphic art' style and excellent music. …

The rest of this article is only available to active members of Questia

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

Vibrant and Varied: The Melbourne International Animation Festival: The Melbourne International Animation Festival (MIAF), in Its Sixth Year in 2007, Brings Together Animation from around the World, and Highlights with Pride the Animation Being Produced in Australia
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.