|
| A still from McLaren’s Camera Makes Whoopee (1935) McLaren: Trick C |
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| A still from McLaren’s Camera Makes Whoopee (1935) McLaren: Trick C |
|
| David Shrigley’s Lightswitch 2007 |
– David Shrigley,
Ross Hogg, Lesley Keen
to feature in McLaren 2014 screening at the GFT
–
GSA to screen the four surviving films that Norman McLaren made whilst a
student at the GSA with live music from the Glasgow Improvisers Orchestra
GSA to screen the four surviving films that Norman McLaren made whilst a
student at the GSA with live music from the Glasgow Improvisers Orchestra
The full list of animated films by GSA
alumni to be screened at the GFT as part of McLaren 2014 has been released today, 28 March 2014. The screening,
at 1.45pm on Saturday 3 May, is part of The Glasgow School of Art’s
contribution to the Norman McLaren centenary celebration. The event, which is
being curated by a leading authority on experimental film, Dr Sarah Smith from
the GSA’s Forum for Critical Inquiry (FOCI), illustrates the influence of
McLaren on succeeding generations of filmmakers.
alumni to be screened at the GFT as part of McLaren 2014 has been released today, 28 March 2014. The screening,
at 1.45pm on Saturday 3 May, is part of The Glasgow School of Art’s
contribution to the Norman McLaren centenary celebration. The event, which is
being curated by a leading authority on experimental film, Dr Sarah Smith from
the GSA’s Forum for Critical Inquiry (FOCI), illustrates the influence of
McLaren on succeeding generations of filmmakers.
Thirteen films will be shown, the earliest of
which is Norman McLaren’s Lines
Horizontal made in the early 60s. Among the most recent is Ross Hogg’s The Man Who Mistook His Wife for A Hat
which was shortlisted for the McLaren Award at the 2013 Edinburgh International
Film Festival. Hogg recently won the BAFTA Scotland New Talent Award for his
latest animated film, Spectators. Also
on the list are Turner Prize nominee, David Shrigley’s, Lightswitch (2007), Lesley Keen’s 1983 film Taking a Line for a Walk: A Homage to the Work of Paul Klee and Beagles & Ramsay’s Spam Mush Dust (2013). For
full list of films see Notes for Editors.
which is Norman McLaren’s Lines
Horizontal made in the early 60s. Among the most recent is Ross Hogg’s The Man Who Mistook His Wife for A Hat
which was shortlisted for the McLaren Award at the 2013 Edinburgh International
Film Festival. Hogg recently won the BAFTA Scotland New Talent Award for his
latest animated film, Spectators. Also
on the list are Turner Prize nominee, David Shrigley’s, Lightswitch (2007), Lesley Keen’s 1983 film Taking a Line for a Walk: A Homage to the Work of Paul Klee and Beagles & Ramsay’s Spam Mush Dust (2013). For
full list of films see Notes for Editors.
Meanwhile at 7pm on 3 May the GSA
will host a screening of the four surviving films that McLaren made in the mid-1930s whilst a
student of Interior Design at The Glasgow School of Art, where he was also a
founding member of GSA’s Kinecraft Society.The films,
which will be screened in the auditorium of the new Reid Building, will be accompanied
by live music from the Glasgow Improvisers Orchestra.
will host a screening of the four surviving films that McLaren made in the mid-1930s whilst a
student of Interior Design at The Glasgow School of Art, where he was also a
founding member of GSA’s Kinecraft Society.The films,
which will be screened in the auditorium of the new Reid Building, will be accompanied
by live music from the Glasgow Improvisers Orchestra.
McLaren’s earliest known film, Seven Till Five (1933), provides
fascinating insight into the practices and rituals that comprised an average
day in the iconic Mackintosh Building; Camera
Makes Whoopee (1935) depicts the GSA’s Annual Carnival Ball and displays
many pioneering animation techniques for which McLaren became best known; Polychrome Phantasy (1935) is an early
example of experimental dance film; while Hell
Unlimited (1936), an anti-war film that McLaren co-directed with fellow
student Helen Biggar (1909-1953), demonstrates his nascent interest in
political film. These films, made prior to McLaren’s professional
filmmaking career, feature the themes and formal experimentation that would
permeate his entire oeuvre.
fascinating insight into the practices and rituals that comprised an average
day in the iconic Mackintosh Building; Camera
Makes Whoopee (1935) depicts the GSA’s Annual Carnival Ball and displays
many pioneering animation techniques for which McLaren became best known; Polychrome Phantasy (1935) is an early
example of experimental dance film; while Hell
Unlimited (1936), an anti-war film that McLaren co-directed with fellow
student Helen Biggar (1909-1953), demonstrates his nascent interest in
political film. These films, made prior to McLaren’s professional
filmmaking career, feature the themes and formal experimentation that would
permeate his entire oeuvre.
“McLaren
was one of the most important filmmakers of the 20th Century,
making a groundbreaking contribution to the art of animation,’ says Dr Sarah Smith. “We are delighted to be screening the films he made whilst still a
student at The Glasgow School of Art. His remarkable talent was already evident
in these
early pieces.”
was one of the most important filmmakers of the 20th Century,
making a groundbreaking contribution to the art of animation,’ says Dr Sarah Smith. “We are delighted to be screening the films he made whilst still a
student at The Glasgow School of Art. His remarkable talent was already evident
in these
early pieces.”
“McLaren’s contribution to the field of experimental
animation was seminal and he has influenced many generations of filmmakers. The
thirteen animated films by our alumni that will be screened as part of the
centenary celebration give a flavour of his influence on GSA students and
graduates.”
animation was seminal and he has influenced many generations of filmmakers. The
thirteen animated films by our alumni that will be screened as part of the
centenary celebration give a flavour of his influence on GSA students and
graduates.”
McLaren 2014 is a programme
celebrating the centenary of the pioneering Scottish artist, filmmaker and
musician. It has been produced by the Centre for the Moving Image, in
partnership with the National Film Board of Canada. McLaren 2014 is an official
Culture 2014 event and part of the Year of Homecoming Scotland 2014
celebrations. For full information visit:
celebrating the centenary of the pioneering Scottish artist, filmmaker and
musician. It has been produced by the Centre for the Moving Image, in
partnership with the National Film Board of Canada. McLaren 2014 is an official
Culture 2014 event and part of the Year of Homecoming Scotland 2014
celebrations. For full information visit:
Ends
For
further information, images and interviews contact:
further information, images and interviews contact:
Lesley
Booth
Booth
0779
941 4474
941 4474
Listings
Glasgow Film Theatre, 12 Rose Street, Glasgow, G3
6RB
6RB
The Art of Drawn Movements:
Animation Films by GSA Alumni
Animation Films by GSA Alumni
Screening of animated films by GSA alumni
including McLaren, Lesley Keen, David Shrigley and Ross Hogg. The event will be
introduced by Dr Sarah Smith and will conclude with a short Q&A with some
of the included filmmakers.
including McLaren, Lesley Keen, David Shrigley and Ross Hogg. The event will be
introduced by Dr Sarah Smith and will conclude with a short Q&A with some
of the included filmmakers.
All tickets £5
By phone on 0141 332 6535 or email boxoffice@glasgowfilm.org
Saturday 3 May 2014 at 7pm
Auditorium, the Reid Building,
164 Renfrew Street, Glasgow G3 6RF
164 Renfrew Street, Glasgow G3 6RF
Norman McLaren: The Student
Films (1933-36)
Films (1933-36)
A rare screening of the surviving
films McLaren made whilst a student at the GSA. Live accompaniment from the
Glasgow Improvisers Orchestra.
films McLaren made whilst a student at the GSA. Live accompaniment from the
Glasgow Improvisers Orchestra.
£10, £8
Notes
for Editors
for Editors
·
The GSA screenings
are part of a weekend of McLaren 2014 events in Glasgow including a Scottish
Screen Archive screening on Sunday 4 May.
are part of a weekend of McLaren 2014 events in Glasgow including a Scottish
Screen Archive screening on Sunday 4 May.
McLaren Alumni
Screening: Films (in running order)
Screening: Films (in running order)
·
David Shrigley, Lightswitch (2007)
·
Sigga Bjorg
Sigurdardottir, A Story of Creation,
(2013)
Sigurdardottir, A Story of Creation,
(2013)
·
John Beagles and
Graham Ramsay, Spam Mush Dust, (2013)
Graham Ramsay, Spam Mush Dust, (2013)
·
Krisdy Shindler, Fanfare of the Common Man (2011)
·
Iain Gardner, Navigations No 3: Triptych, (2013)
·
Norman McLaren, Lines Horizontal
(1962)
(1962)
·
Craig Mulholland, As Red Dots Hunt Dying Word (2013)
·
Peter Cotter, There Will Come Soft Rains, (2008)
·
Patrick Jameson, Wire (2006)
·
Ben Skea, Sleep Vessel (2013)
·
Ross Hogg, The Man Who Mistook His Wife for a Hat
(2013)
(2013)
·
Lesley Keen, Taking a Line for a Walk: A Homage to the
Work of Paul Klee (1983)
Work of Paul Klee (1983)
·
Lu Sisi, Digital/Analogue (2011)
Norman McLaren was a world renowned film maker, a genius of
the moving image famous for his innovative and prolific animated experiments.
Many of his short films won International Film Festival Awards, including the
Academy Award (Oscar) for 1952’s NEIGHBOURS. He has influenced artists, filmmakers
and musicians, from Picasso and Truffaut to Lucas and Linklater.
the moving image famous for his innovative and prolific animated experiments.
Many of his short films won International Film Festival Awards, including the
Academy Award (Oscar) for 1952’s NEIGHBOURS. He has influenced artists, filmmakers
and musicians, from Picasso and Truffaut to Lucas and Linklater.
Born in Stirling, Scotland, on the 11 April
1914, McLaren went on to study Interior Design at The Glasgow School of Art
during the 1930s; his enthusiasm for film grew as a member of the student
Kinecraft Society. After gaining recognition at the Scottish Amateur Film
Festival, McLaren was employed by the General Post Office Film Unit where his
discipline as a film-maker was forged. After a brief period living in New York
at the dawn of World War II, McLaren emigrated to Canada where he was invited
to found the Animation Department of the burgeoning National Film Board of
Canada, itself celebrating 75 years in 2014. His philosophy of animation as an
art of personal expression was to have an enormous influence on animation
universally. Norman McLaren died on 26 January 1987 aged 72.
1914, McLaren went on to study Interior Design at The Glasgow School of Art
during the 1930s; his enthusiasm for film grew as a member of the student
Kinecraft Society. After gaining recognition at the Scottish Amateur Film
Festival, McLaren was employed by the General Post Office Film Unit where his
discipline as a film-maker was forged. After a brief period living in New York
at the dawn of World War II, McLaren emigrated to Canada where he was invited
to found the Animation Department of the burgeoning National Film Board of
Canada, itself celebrating 75 years in 2014. His philosophy of animation as an
art of personal expression was to have an enormous influence on animation
universally. Norman McLaren died on 26 January 1987 aged 72.
Dr Sarah Smith is Joint Acting Head of
the Forum for Critical Inquiry, a research-led academic unit at the GSA which
provides courses in critical, historical and cultural studies at undergraduate
and postgraduate levels as well as PhD supervision expertise. Sarah completed a
BA in fine art painting at the National College of Art and Design, Dublin in
1994 and an MA in film studies at University College Dublin in 1995 before
moving to Glasgow where she completed a PhD at University of Glasgow in 2007. Her research and
supervisory interests are in the broad area of visual culture, with a
particular interest in artists’ films, experimental
film, feminist art and issues of Irish cultural identity. Her research is
interdisciplinary, with an ongoing interest in the politics of appropriation
practices. She is currently developing a book project on citations of cinema in
artists’ films as well as a number of articles on allusions to pornography in
recent feminist art.
the Forum for Critical Inquiry, a research-led academic unit at the GSA which
provides courses in critical, historical and cultural studies at undergraduate
and postgraduate levels as well as PhD supervision expertise. Sarah completed a
BA in fine art painting at the National College of Art and Design, Dublin in
1994 and an MA in film studies at University College Dublin in 1995 before
moving to Glasgow where she completed a PhD at University of Glasgow in 2007. Her research and
supervisory interests are in the broad area of visual culture, with a
particular interest in artists’ films, experimental
film, feminist art and issues of Irish cultural identity. Her research is
interdisciplinary, with an ongoing interest in the politics of appropriation
practices. She is currently developing a book project on citations of cinema in
artists’ films as well as a number of articles on allusions to pornography in
recent feminist art.