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INITIAL SKETCH TEST 6 frame (LEFT)

DEVELOPED CYCLE 42 frame (RIGHT)

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Although not really my style I think this is an interesting use of archive footage / motion as the whole piece is one big rolling strip

rotoscoping

mix media

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As expected, the process behind the film involved plenty of research. Everything the team landed on - "something cool", says Bráulio, or that which was visually engaging or interesting - saw them treat it, xerox it, riso it, draw on it, screen print it or do something with 3D to then be brought into the video. "There's a visual narrative," continues Bráulio, "but we are not really telling a story. So the create process was quite abstract." With each and every render, more ideas would bloom and evolve. And, having been given the opportunity to revel in the footage of Elvis as a younger and older man, it was an exceptionally rare and honest experience for them all. "Then by using rotoscoping," notes Jimmy, "hand-drawn elements, double exposures and multilayering techniques, we tried to create something with both pathos and dynamism."

Both Jimmy and Bráulio are known for their bold, textured, graphic and collage-esque aesthetics - that which meshes poster design and illustration into one big playful and visual sandwich. Antonio, a Brazilian illustrator and animator, is also known for his sketch-book style of animation, and was the perfect counterpart to this project. However, all three creatives wanted to shy away from their signature styles and work on something completely different. "We were trying to avoid doing similar things from our previous work (that we've made together), so we very loosely started jamming stuff together," Antonio tells It's Nice That. "Jimmy had some great collages from the initial development process and Bráulio took them and made them magic. I then pitched in ideas and made everything move."

"Elvis is one of the only true stars that you can instantly recognise by his silhouette, so we used these as framing devices to transition between scenes," he continues. "Even though they were basically just the left over parts of Jimmy's cutouts!"

Alongside these cutouts, Jimmy apparently "went crazy" on Ebay and got highly involved in shopping for Elvis memorabilia. For example, he now owns a collection of plastic Elvis-esque jewellery, that the rest of the team kept convincing him to wear on a daily basis. "But I don't think we succeeded," jokes Bráulio, who also ended up buying some magazines to cut out and some moving hula dolls. Working in this way - i.e. using analogous and physical objects as a starting point - allowed the team to draw from real-life memories of the famous singer and re-work these findings into the digital sphere. It's a process that worked seamlessly between the three of them. "We're very comfortable collaborating together, even though we have different styles," says Antonio. "I basically took Bráulio and Jimmy's initial comps, added 3D, loose drawings and made them look worse, and they were very kind to not yell at me for how bad that final output looked!"

While working on this film, the team were able to get a solid overview of the life of Elvis Presley. It's not just about him singing, either, as they also got their hands on some footage of him water-skiing, riding on horseback and dancing on stage at a Hawaiian celebration. Antonio also animated an abundance of hearts to appear in the film, as well as Elvis' walking sideburns - a fantastic nod to the legendary king, both for his music and exceptional hair.

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Jimmy Turrell and Bráulio Amado co-direct a re-release of Elvis Presley’s Can’t Help Falling In Love With You

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Commissioned by Sony’s Legacy Recordings, the duo join forces with Brazilian animator Antonio Vicentini to produce a sketchbook-like ode to the legendary singer.

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Interesting use of multi screens. Simple way to add more visual interest to a video clip.

'Rashid realises these events via archive footage, television static and a soundtrack that he says “reflects a shared language between immigrants”. Rashid’s audio visual work is influenced by the sounds of his childhood'

This piece could be quite interesting to have a look at if we decide to go down the route of Migration.

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Kazim Rashid reveals exclusive trailer for 2001: Pressure Makes Diamonds

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Artist and collaborator Kazim Rashid has unveiled an exclusive trailer for It’s Nice That ahead of his exhibition at P21 Gallery London in September.

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Sound and Visuals (Not sure how it fits in but its abstract and very cool)

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230.3K likes, 1952 comments. “The sound of a triangle”

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One of my favourite animations using found footage. Frame-by-frame paper cut out / scanning technique used.

Really beautiful colour pallet / rich tone + textures

Portfolio website: https://jazzgrantstudio.com/artwork/

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Rhyging, a variant of 'raging' in Jamaican Patois, is used to mean wild, hot or bad. 

A hand cut animated collage by Jazz Grant for Boy.Brother.Friend.

Imagery sourced from 'The Harder They Come' by Perry Henzell

Collage and Animation: Jazz Grant
Sound Design: Dan Hylton-Nuamah
Title Design: Ben Smallwood
With Maya Elsie, Toby Cato and Jo alderson
Agent: Roxie Pandora

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Responding to "We are here because you were there" - https://blogs.lse.ac.uk/lsereviewofbooks/2021/04/16/author-interview-q-and-a-with-dr-ian-sanjay-patel-on-were-here-because-you-were-there-immigration-and-the-end-of-empire/

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Author Interview: Q and A with Dr Ian Sanjay Patel on We’re Here Because You Were There: Immigration and the End of Empire

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In this author interview, we speak to Dr Ian Sanjay Patel about his new book, We’re Here Because You Were There: Immigration and the End of Empire, which explores post-war immigration laws, the aft…

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WAR HAS DRIVEN US ALL APART, BUT HAS ALSO BROUGHT US ALL TOGETHER

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WAR HAS DRIVEN US ALL APART, BUT HAS ALSO BROUGHT US ALL TOGETHER

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Not trying to romanticise the idea of war, but it got me thinking how we all within our group share experiences of war, either through proximity, shared memory, generational memory or national history.

There could be a really beautiful potential to just answer all the questions we have, using ourselves (not just our skills) - capturing our stories, individual and shared histories, and contextualising them in critical theories on immigration, globalisation, and asylum seeking.

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SHARED HISTORIES AND COMMEMORATIVE EXTENSION: WARSAW'S POLIN MUSEUM

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SHARED HISTORIES AND COMMEMORATIVE EXTENSION: WARSAW'S POLIN MUSEUM

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This is an incredible essay on how the POLIN Museum in Warsaw, has changed the dynamic of exhibiting the Holocaust.

It critiques the museum's characteristics such as its content, architecture, and so on. What the content of this essay shows is that it offers a new way to engage the Holocaust, without presenting it in an overly scientific and political way, and most importantly, it transmits such a painful past by actively allowing its visitors to engage in historical education, while connecting mourning and commemoration to their experience.

It makes me think a lot about how we can use the space, the archive, and all visual and sonic contributions to engage our audiences emotional memory, so they too can connect to whatever story we are telling and whatever symbols we use - whether or not it directly concerns them.

(This as a tool will be really useful in getting us to think about who we automatically exclude if there isn't something that allows them to access our material and connect with it).

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A phenomenon that "emerges at the interface between a person and a historical narrative about the past, at an experiential site, such as a movie theatre or a museum. In this moment of contact, an experience occurs through which the person sutures himself or herself into a larger history... the person does not simply apprehend a historical narrative but takes on a more personal, deeply felt memory of a past event through which he or she did not live. The resulting prosthetic memory has the ability to shape that person's subjectivity and politics."

Alison Landsberg, p. 2

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Good use of multi-screen on a small scale (back to back screens), good example of differentiating visuals using the same audio to create an emotionally striking piece.

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With unused Super 8mm footage from McQueen's 2002 film Carib's Leap projected onto one side of a double-sided screen, a young man nicknamed Ashes is depicted as he rides the waves on an orange boat - exuberant, carefree and joyful against the backdrop of the apparent utopia of island life.

Projected onto the reverse screen is a scene which takes place over ten years later. On McQueen's return to the island in 2013 he learned the news of Ashes' murder at the hands of drug dealers. Later, on hearing from the young man's aunt that he had been buried in an unmarked grave, McQueen went back to Grenada, filming Ashes' re-burial, as he is given a proper tombstone inscribed with his name. The narration, voiced by a friend of Ashes, gives an account of what happened to him. McQueen's film emphasises the impact of the international drug trade upon the islanders and the ongoing legacy of colonialism.

Ashes died on 30th May 2002, aged 25.

Click here to download the fanzine resource inspired by Ashes, created by People Dem Collective.

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Ashes (2002-2015) is a two-channel video installation by artist and filmmaker Steve McQueen. It is composed of footage filmed by McQueen over ten years, on two separate visits to the Caribbean island of Grenada - a former French and British colony that achieved independence in 1974.

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Another really visually striking use of rotoscoping over archive footage that's a lot more stylised (In my opinion). Really beautiful use of colour and texture

Photoshop frame-by-frame digital painting

0:48 - clear background footage with one element rotoscoped. lacks traditional detail of rotoscoping yet remains a clear representation of subject through form.

1:23 - taking a single subject from the footage and layering the rotoscoped section over a simple animated background

Portfolio website: https://ruffmercy.com/19/

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The Chemical Brothers - The Darkness That You Fear (Official Music Video)

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A random one I know, but interesting visual of the ‘audio line’ and quite striking in black and white. Would be good on one of the screens possibly for archive audio with no video - especially spoken word.

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Arctic Monkeys - Do I Wanna Know? (Official Video)

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Ww2 painted art, would be interesting to maybe try animate these slightly? Just small motion in clouds/smoke/people ect.

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'Exploring how migration changes the places where we live' 

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'Exploring how migration changes the places where we live' 

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https://www.open.edu/openlearn/society-politics-law/sociology/exploring-how-migration-changes-the-places-where-we-live

A page from the open university I found through the Migration Museum website.

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"The Wolf House is presented as a fairy tale-themed animated propaganda film produced by the leader of the sect in order to indoctrinate its followers."

This film is linked to events which happened after the war when German soliders fled to America to create thier own mini German community. Where they brainwashed people into a community with propaganda.

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THE WOLF HOUSE | Official HD Trailer (2020) | STOP MOTION ANIMATION | Film Threat Trailers

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Thought this would be interesting to share since it still has a war narrative around how animals were used in the war. I personaly just like the puppets.

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After the war nature takes over restoring balance to a new future.

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Resilience | Animated Short | CalArts Film 2023

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Adapted from a book, Starship Troopers brings up the satire of fascist propaganda.

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STARSHIP TROOPERS [1997]– Official Trailer (HD) | Get the 25th Anniversary 4K Ultra HD SteelBook Now

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A bird known for mimiking any sound to use in its courting song. Thought this would be interesting due to maybe using the sounds of war within audio as the bird uses chainsaws in its mating call as its forest is being cut down.

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Bird Mimics Chainsaw, Car Alarm and More | World's Weirdest

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A polish Painter and Photographer who specializes in dystopian surrealism. Most works link back with his pain and suffering from the war when Germany invaded Poland.

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"The plot is set against the backdrop of a conflict between anthropomorphized teddy bears and unicorns, following two bear siblings deployed in a military mission to a magical forest populated by wild unicorns."

Cute designs with the horrors of war and violence, beliving in one race is superiour than the other.

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Let me know if you guys can get into this file if not ill make one on my drive account.

To put files on and what not.

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REEL 1

1:25

Christmas truce, German soldier telling English soldier that he’d lived in England most of his life/ saw it as his home.

4:00

Carol singing, bonfire in no mans land playing football with opposing sides

5:15

Mentions extract of diary in museum about the truce

TO BE CONTINUED IF NEEDED

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British guardsman served with 1st Bn Grenadier Guards, 20th Bde, 7th Div on Western Front and Germany, 1914-1918 including participation in Christmas Truce, 12/1914

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'Symbols of growing friendship between Poles and Scots'

Showing post-war intergration

AUDIO

the audio features a conversation of praise between both sides complimenting eachothers ability to intergrate into eachothers culture. Maybe this could be disected into the two sides talking? would be great if it was possible to isolate the talking.

I have created a timeline of notable audio and visual clips throughout

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Polish soldiers are posted to a camp in Scotland after the fall of France.

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42 texture based frames making up a walk cycle.

Textures: glass, metal, wood, fabric, dirt, rust etc.

Compiled sequence then distorted

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Barbara Kruger - Thinnking of you. I mean me. I mean you

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Barbara Kruger - Thinnking of you. I mean me. I mean you

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Nice use of repetition and text on a large sale.

Barbra Kruger uses her iconic/ recognisable pallet of black and white with pops of red.

Another link to this exhibition.

https://www.itsnicethat.com/features/barbara-kruger-thinking-of-you-i-mean-me-i-mean-you-art-exhibition-020224

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American artist Barbara Kruger (b. 1945, Newark, New Jersey, USA) is widely known for her impactful work with images and words. Drawing from an early career as a graphic designer for magazines, Kruger developed an iconic visual language that frequently borrows from the techniques and aesthetics of advertising and other media. Since the 1970s, her artworks have continually explored complex mechanisms of power, gender, class, consumerism, and capital.
at Serpentine South is Kruger's first solo institutional show in London in over twenty years. It features a unique selection of installations alongside moving image works and multiple soundscapes. The exhibition is the UK premiere of  Untitled (No Comment) (2020). This immersive three-channel video installation explores contemporary modes of creating and consuming content online. In the work, Kruger combines text, audio clips, and a barrage of found images and memes, ranging from blurred-out selfies to animated photos of cats.

The exhibition also features recent video reconfigurations - or, as the artist calls them, - of several of Kruger's most iconic pieces from the 1980s, including Untitled (I shop therefore I am) (1987) and Untitled (Your body is a battleground) (1989). Over decades, Kruger has presented her work across various spaces and forms, including on buildings, billboards, hoardings, buses, and skate parks. For this exhibition, the artist has adapted works , which were recently presented at museums in the United States, to specific locations within Serpentine, both indoors and outdoors .

Please be advised, this exhibition contains works with strong language, nudity, flashing images and sudden loud noises. For more information, please contact information@serpentinegalleries.org.

A special Limited Edition has been released on the occasion of the exhibition Barbara Kruger: Thinking of You. I Mean Me. I Mean You. at Serpentine. Discover the edition and further information here.

Barbara Kruger: Thinking of You. I Mean Me. I Mean You. at Serpentine is curated by the artist in close collaboration with Natalia Grabowska, Curator at Large, Architecture and Site-specific Projects.

Produced by:

Brittany Stewart, Creative Producer

Mike Gaughan, Gallery Manager

Thinking of You. I Mean Me. I Mean You. is an adaptation of the exhibition organised by the Art Institute of Chicago, the Los Angeles County Museum of Art, and The Museum of Modern Art, New York.

Thinking of You. I Mean Me. I Mean You. was on view at the Art Institute of Chicago from September 19, 2021 to January 24, 2022, and was co-organised by James Rondeau, President and Eloise W. Martin Director, and Robyn Farrell, Senior Curator at the Kitchen and former Associate Curator of Modern and Contemporary Art. At LACMA, the exhibition was presented March 20, 2022 to July 17, 2022 and was organised by Michael Govan, CEO and Wallis Annenberg Director, and Rebecca Morse, Curator, Wallis Annenberg Photography Department. The installation at The Museum of Modern Art, New York, was on view from July 18, 2022 to January 2, 2023 and was organised by Peter Eleey, former Chief Curator, MoMA PS1, and Lanka Tattersall, Laurenz Foundation Curator, Department of Drawings and Prints.

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Barbara Kruger: Thinking of You. I Mean Me. I Mean You. - Serpentine Galleries

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The artist's first solo exhibition in London in 20 years, featuring a unique selection of installations alongside moving image works and multiple soundscapes.

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Distorted with ASCII filter over origianal textrure sequence.

Visually representing data/ code

'one death is a tragedy, a million deaths are a statistic' - Stalin. This quote was delivered by an individual who orchestrated one of the largest mass murders our world has ever seen. It captures the morbid and dehumanising scale which war operates at.

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Vera Lynn used to sing to soliders before they left for the war, her performance being the last that many got to see before losing their lives. Everything I hear this song it reminds me of war, theres a chilling beauty to how she sings and that some of the men you hear singing in the background could be or implied to be the same men who sadily never came back.