Michel Ocelot A World of Animated Images 9781032272962, 9781032272993, 9781003292173
112 31 13MB
English Pages [203] Year 2023
Table of contents :
Cover
Half Title
Series Page
Title Page
Copyright Page
Contents
Introduction
Chapter 1. Ars Animativa
Early Life
First Television Productions: Gédéon
Les 3 Inventeurs: A Declaration of Poetics
La Légende du Pauvre Bossu
Other Early Productions
Notes
Chapter 2. Silhouette Films: A Magical Night Where Anything Can Happen
The Adventure of Ciné Si and the Commitment to the Papier Découpé
Ocelot and the History of Silhouette Animation
The Return of the Silhouette Fairytales: Dragons et Princesses
The Collaboration with Björk
Notes
Chapter 3. Once Upon a Time, Kirikou
The Birth of Kirikou
An Alternative to Disney
The Success of Kirikou
Different Perspectives on Kirikou et la Sorciére
After the Notoriety, the Sequels
Notes
Chapter 4. A Beautiful Stranger: Azur & Asmar
A New Medium for a New Story
The Representation of Alterity
Visuality and Sound Between Two Cultures
Notes
Chapter 5. Dilili à Paris, or Beauty Will Save Us
A Homage to Paris
A humanist message
A Foray into Live-Action Cinema: Pablo-Paris-Satie
Notes
Appendix 1
Interview with Michel Ocelot
How did the film project Le Pharaon, le Sauvage et la Princesse come about? Why did you choose these three stories?
Can you tell us something about your experience of working with the Louvre?
How many people worked on the film? What type of work organisation characterised Le Pharaon, le Sauvage et la Princesse?
What role did the musicians play in the production of this film?
On which visual sources did you mainly draw inspiration for each of the stories?
What messages did you want to communicate with this work?
What project are you currently working on?
Thierry Buron, head of set design, tells us about his experience working on Le Pharaon, le Sauvage et la Princesse
Appendix 2
Bibliography
Books
Interviews and Articles
Documentaries
Index
Cover
Half Title
Series Page
Title Page
Copyright Page
Contents
Introduction
Chapter 1. Ars Animativa
Early Life
First Television Productions: Gédéon
Les 3 Inventeurs: A Declaration of Poetics
La Légende du Pauvre Bossu
Other Early Productions
Notes
Chapter 2. Silhouette Films: A Magical Night Where Anything Can Happen
The Adventure of Ciné Si and the Commitment to the Papier Découpé
Ocelot and the History of Silhouette Animation
The Return of the Silhouette Fairytales: Dragons et Princesses
The Collaboration with Björk
Notes
Chapter 3. Once Upon a Time, Kirikou
The Birth of Kirikou
An Alternative to Disney
The Success of Kirikou
Different Perspectives on Kirikou et la Sorciére
After the Notoriety, the Sequels
Notes
Chapter 4. A Beautiful Stranger: Azur & Asmar
A New Medium for a New Story
The Representation of Alterity
Visuality and Sound Between Two Cultures
Notes
Chapter 5. Dilili à Paris, or Beauty Will Save Us
A Homage to Paris
A humanist message
A Foray into Live-Action Cinema: Pablo-Paris-Satie
Notes
Appendix 1
Interview with Michel Ocelot
How did the film project Le Pharaon, le Sauvage et la Princesse come about? Why did you choose these three stories?
Can you tell us something about your experience of working with the Louvre?
How many people worked on the film? What type of work organisation characterised Le Pharaon, le Sauvage et la Princesse?
What role did the musicians play in the production of this film?
On which visual sources did you mainly draw inspiration for each of the stories?
What messages did you want to communicate with this work?
What project are you currently working on?
Thierry Buron, head of set design, tells us about his experience working on Le Pharaon, le Sauvage et la Princesse
Appendix 2
Bibliography
Books
Interviews and Articles
Documentaries
Index
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