Oregon Cartoon Institute is holding its second public meeting on Sunday, Feb. 12, at 2:00 PM at 5th Avenue Cinema.

All friends and fans of Oregon Cartoon Institute are invited. If you think you might belong to this group, you do.

The agenda includes a brief introduction to the all volunteer Institute, and a discussion of what is up next. We’ll have announcements from the Mel Blanc Project and the Homer Davenport Project, some proposals to consider, and some hand outs to take home.

Reminder: last time the Institute met, Dennis Nyback supplied home made refreshments.

This year our featured attraction is a rare screening of The Little Baker, a stop motion animation short by early Portland filmmaker Lewis Clark Cook (1909 – 1983). We will also screen a ten-minute profile of Cook, made for OPB in the early 1980’s by Portland artist Jim Blashfield.

Michele Kribs, who was trained by Cook to succeed him as head of Oregon Historical Society’s Moving Image Archive, will be in attendance.

In the photo above, use of which was generously made possible by the Oregon Historical Society, Lew Cook is 15 years old. That is his own 35mm camera. A doting aunt, knowing that he was in love with the movies, bought it for him. He quit selling newspapers and went to work as a newsreel photographer.

Top Four Reasons You Might Want To See The Little Baker:

4. Cook made his living as an independent filmmaker using more tricks than you can imagine. Just as Bill Plympton turned down Disney, Lew Cook turned down Warner Brothers. He chose independence. Besides Plympton, the other Portland filmmakers who followed Cook’s lead include Homer Groening, Will Vinton, Joan Gratz, Jim Blashfield, Gus Van Sant, Rose Bond and  Joanna Priestley.

3. The Little Baker was made “in the 1920’s” which means Cook could have made it anywhere between age 11 and age 20. Come help us sleuth out clues as to whether this is the work of a hard working child or an uninhibited adult.

2.  No one else you know has seen this film.

1. Will Vinton credited The Little Baker with inspiring him to consider clay animation. Who knows what it will inspire you to do!

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This event is a partnership between Oregon Cartoon Institute, Oregon Historical Society and 5th Avenue Cinema.

Thank you to Kerry Tymchuk, Michele Kribs and Scott Rook of Oregon Historical Society.

Thank you to Heather Petrocelli of 5th Avenue Cinema and PSU’s Public History Interest Group.

Joanna Priestley, the Queen of Independent Animation, has a policy of never repeating herself. The only rule she seems to obey consistently is the avoidance of boredom.

Anouck Iyer, of ASIFA Seattle, interviewed Priestley in 2002.

What led you to choosing film as your medium of artistic expression?

I started as a painter. I had been working at a studio in Paris and when I returned to the states I relocated to the town of Sisters in central Oregon. At that time there were no movie theaters in Sisters nor in the three surrounding counties, which encompassed a vast area. So, a friend and I started a group called “Strictly Cinema.” We starting renting 16mm prints and showing them at the Bend High School. The screenings were wildly successful, there was no VHS back then so people came in droves to see these films. Later we started showing films at the Redmond High School and in the summers we held outdoor screenings at local parks.

We just kept doing more and more screenings because there was a demand for it. This led us to organizing film festivals. Our first big event was an animation festival. We brought in a filmmaker from Portland named Bob Gardiner who won an Oscar for a film he did with Will Vinton called Closed Mondays. That event was a gigantic success. It got me interest in animation and it was the first time I was able to see noncommercial animation art. From “Strictly Cinema” I got a job as the Film Librarian, then the Regional Coordinator at the Northwest Film Center working for Bill Foster. That was at a time when Bill Foster was bringing in a lot of independent filmmakers and animators, like George Griffin, Jane Aaron, and Marv Newland. So I was able to meet them and they were actually guests in my home. I was exposed to lots of work. I got so excited about the possibilities of translating what I was doing in painting to filmmaking.

I went to the Safeway store across the street, bought some index cards and started experimenting. From there I took a class taught by Roger Kukes who was the first animation teacher at the NW Film Center. He is a brilliant artist who is still active in town, but not in animation. He got me really excited about animation and made want to pursue it, so I went on to study at Cal Arts’ Experimental Animation program.

For readers new to the study of Portland animation history, I would like to point out a few interesting mileposts on Joanna’s career path.

1. She went to Paris. Then she went to the desert. Classic trajectory for an emerging artist! It was in Oregon’s High Desert that publisher-turned-producer Mike Richardson found his vocation in comics. It was in the desert that filmmaker Penny Allen wrote her book, A Geography Of Saints. (Although Penny reversed things and went to Paris after, not before, her desert epiphany.)

2. The first noncommercial animation she saw was by fellow Oregonians, Will Vinton and Bob Gardiner. Somewhere it must have registered that those two also happened to be Oscar winners.

3. She was taught by Roger Kukes, who also taught Rose Bond. Perhaps Priestley and Bond were in the same class! If so, Kukes is a master teacher, because these two students went on to have international careers.

4. “I was exposed to lots of work.” Bill Foster made sure Northwest Film Center students saw lots of independent animation and met living, breathing filmmakers.

The longer ASIFA interview provides a great short introduction to what Portland did right to nurture a young film artist. Joanna returned the favor by founding the Portland chapter of ASIFA, and by teaching at AI, PNCA and NWFC, and by running an apprenticeship program from her own studio.

See Joanna Priestley’s films, including three premieres, and meet the Queen Of Independent Animation herself, on January 28, 2012, at 7:00 PM, at Whitsell Auditorium. More information here.

Pittsburgh has George Romero, Baltimore has John Waters, and Boulder has the memory of Stan Brakhage.

Portland has Gus Van Sant, Bill Plympton, Matt Groening, Mike Richardson, Jon Raymond, Aaron Katz, Chel White, Jacob & Arnold Pander, James Westby, Jim Blashfield, Joan Gratz, Joanna Priestley, Matt McCormick, Rose Bond, Vanessa Renwick and Will Vinton.

Ever wonder why?

For cities wishing to replicate Portland’s densely populated cinematic scene, here’s a handy “how to” guide.

1.  Start early.

As soon as people were making films in New York and Fort Lee, they were making them in Portland. Portland’s first film studio, American Lifeograph, opened in 1910. That’s the same year movies came to Hollywood.

2. Have a show business friendly mayor.

During the 16 year tenure of theater-owner-turned-mayor George Baker, downtown Portland was wall to wall theaters. John Gilbert, Clark Gable, William Powell, Edward Everett Horton and Eugene Pallette are some of the actors who jumpstarted their acting careers on the Portland stage, some of them in Baker’s own stock company. It was Baker who renamed Seventh Avenue “Broadway”.

3. Support innovation.

Oregon’s oldest source of print media, The Oregonian, responded to the puzzling new medium of radio by setting up a station right in the Oregonian Tower. Radio later served as an Early Warning System to identify the talent of Portlanders Mel Blanc, Suzanne Burce (renamed Jane Powell by MGM) and Johnnie Ray.

4. Grow your own film processing lab.

After WWII, Portland inventor Frank Hood went to work for a brand new electronics firm named Tektronix. He set up his own home lab to process films he made for them, after losing patience with the delays of sending film to LA. Eventually, he went into business as Teknifilm Lab. For decades, independent filmmaking in Portland was supported by Hood’s lax attitude toward payment schedules.

5. Provide a home for an exiled Hollywood film scholar.

Andries Deinum came to Portland during the blacklist. His vision of film as a mode of social discourse laid the groundwork for PSU’s Center For The Moving Image, housed in Lincoln Hall. Jim Blashfield, Bill Plympton, and Matt Groening were among the faithful attendees of the Center’s influential screening series, run by the Portland State Film Committee.

6. Provide a day job for the guy who wants to mentor the guy who wants to revive the archaic art form of stop motion animation.

Homer Groening led a dual life – ad man by day and experimental filmmaker by night. He had a family, a home, and his own business doing what he loved – and he did it all without leaving Portland. Aspiring filmmaker Will Vinton paid attention, and followed suit. His career, like Groening’s, would encompass both television commercials and art house films, but on a much larger scale.

7. Work with, not against, a pair of cinema addled students who want to start a regional film center.

When the National Endowment for the Arts decided to seed regional filmmaking, they went looking for the right person to submit a grant for a film center in Portland. They were pointed to Brooke Jacobson and Bob Summers, members of the Portland State Film Committee. Brooke and Bob wrote the grant, Portland Art Museum acted as fiscal sponsor, and the Northwest Film Center went into business. This year marks its 40th anniversary.

8. Work with, not against, a visionary film preservationist who wants to create a moving image archive.

Lew Cook was trained as a newsreel photographer by the first generation of Portland filmmakers. His stop motion film, The Little Baker, made circa 1925, proved prophetic when it came to Portland’s future claim to cinema history. He and Thomas Vaughn conceived Oregon Historical Society’s moving image archive, and Cook personally trained the preservationist, Michele Kribs, who currently presides over it.

To re-cap: by the end of the 1970’s, Portland had a film program at Portland State University, a film archive at Oregon Historical Society, and a regional film festival (now the NWFF) located at Portland Art Museum. That nucleus of film creativity on the park blocks was balanced by a film processing lab, an emerging animation studio, and a warehouse waiting to be filled with  filmmakers’ offices over in northwest Portland. No one entity owned the scene – the infrastructure and the support system served all comers.

The following timeline concentrates on factors which contributed to a culture where independent filmmakers supported each other in Portland. It does not address the important role played by Hollywood productions shooting in Oregon. The symbiotic role of Hollywood and the Indies in Portland is embodied in the career of Gus Van Sant who slips and slides with ease between these two worlds.

A timeline:

American Lifeograph founded 1910

Lewis Moomaw makes The Chechacos 1924

Lew Cook makes The Little Baker c1925

PGE makes It Can Be Done c1936

Tektronix founded 1946

Frank Hood founds Teknifilm Lab, early 1950’s

Andries Deinum arrives 1957

Homer Groening starts his own ad agency 1958

Center For The Moving Image founded 1965

Bob Summers and Brooke Jacobson found Northwest Film Center 197o

Tim Smith and Matt Groening make Drugs: Killers or Dillers 1972

Brooke Jacobson founds Northwest Media Project 1974

Will Vinton and Bob Gardiner make Closed Mondays 1974

Don Zavin makes Fast Break 1977

Penny Allen makes Property 1979

Rose Bond makes Gaia’s Dream 1982

Gus Van Sant makes Mala Noche 1985

Bill Plympton makes Your Face 1987

Matt Groening makes The Simpsons 1987

Jim Blashfield makes Leave Me Alone 1988

Joan Gratz makes Mona Lisa Descending A Staircase 1992

Gus Van Sant makes Good Will Hunting 1997.

Miranda July makes The Amateurist 1998

Chris Eyre makes Smoke Signals 1998

Will Vinton makes The PJ’s 1999

Travis Knight makes Coraline 2009

Jon Raymond writes & Neil Kopp produces Meek’s Cutoff 2010, one of five Oregon films at Sundance in 2011.

This post is dedicated to Portland filmmaker/film writer David Walker, who inspired it by raising the question “how rare is regional filmmaking, anyway?”

Five years after Sleater Kinney disbanded, all three members continue to make music.

One decided to supplement her music career by becoming a television writer-producer-actress. If you decide that you would like to follow in Carrie Brownstein’s footsteps, I recommend that you live in a city which provides you the following role models.

#1. The Oscar winner. In Portland, this is Joan Gratz.

#2. The Pathbreaker. In Portland, this is Penny Allen

#3. The Visionary. In Portland, this is Rose Bond

#4. The Wise One. In Portland, this is Ursula LeGuin

To keep yourself from becoming discouraged/taking yourself too seriously, its always good to have the wisecracking Best Friend Who Has Been There Already And Survived. Portland provides young female artists with a wide assortment of these.

For example:

#5. The Crazy One. In Portland, this is Courtney Love. (OK, so Courtney’s not here any more. Mary’s Club, where she got her start, still is.)

#6. The Self Deprecating Funny Bisexual One. In Portland, this is Storm Large

#7. The  New York Times Best Selling One. In Portland, this is Chelsea Cain

Q: How many female role models does it take to achieve gender parity in the entertainment business?

A: As soon as we achieve it, we’ll know.

In the meantime, Carrie looks very at home in the spotlight at last year’s Portlandia premiere in Manhattan.

This post is the promised second installment to the first, which addressed the Portland peer group role models which might have helped influence Carrie Brownstein.

Animator Laura Di Trapani has been making films in Oregon since 1984. If you study with her at Portland State you will be learning from someone who has worked with Jim Blashfield, Gus Van Sant, Chel White, Will Vinton, and the late cartoonist John Callahan, as well as Childrens Television Workshop and Sesame Street.

Di Trapani belongs to the extraordinary sisterhood of Oregon animators which includes Joan Gratz, Rose Bond, Joanna Priestley, Marilyn Zornado.

On May 22, at 8:oo PM, Di Trapani will screen her current work in progress Exquisite Corpse at the Curious Comedy Theater, 5225 NE MLK Blvd, in Portland.

Mayor Sam Adams added to his collection of original portraits of Portland filmmakers last week, unveiling a brand new painting of Todd Haynes by Jasper Marks.

City Hall custodians grumbled about the amount of work they face – Portland’s active film scene means the entire wall will soon be filled. The Mayor did not announce whether Marks, who moonlights in another profession under the name Steven Cohn, would be asked to paint the entire series. Some people believe Arnold Pander may be approached to help out.

Here are the names of some of the directors who, taken in conglomerate, represent Portland’s cinematic wealth:

Aaron Katz

Brian Lindstrom

Chel White

David Weissman

Donal Mosher

Gus Van Sant

Irene Taylor Brodsky

Jacob & Arnold Pander

James Westby

Jim Blashfield

Joan Gratz

Joanna Priestley

Lance Bangs

Larry Johnson

Marilyn Zornado

Matt McCormick

Michael Palmieri

Mike Shiley

Peter D. Richardson

Rose Bond

Sue Arbuthnot

Vanessa Renwick

Will Vinton

It is because Sam Adams is only Mayor of Portland, and not Governor of the State of Oregon that the following filmmakers will escape inclusion on his Hall of Fame:

Alex Cox

Bruce Campbell

Bill Plympton

Chris Eyre

Matthew Lessner

James Ivory

James Longley

Shelley Jordon

Susan Saladoff

Portland’s long history of nurturing independent animators continues with Pacific Northwest College of Art’s two week immersion program this summer. Here is more information from PNCA:

With the advent of digital technologies, the appearance of hybrid moving images has emerged as the norm — rendering boundaries between live action, animation and image processing as porous as the platforms of display that host them. Boundary Crossings embraces the hybrid-moving image by combining critical thought, fine art practice and digital technologies. Traversing the terrain of space, time and form, this two-week innovative institute explores the future of film as a form of architecture and also as an extension of the body through infused theory and practice sessions, lectures, screenings and hands-on making. In redefining animation and the manipulated image, animated art forms are pushed beyond the movies to permeate our cultural landscape.

Application is open to practitioners working in the field and upper division undergraduate and graduate level students. Guided by internationally renowned scholars and current practitioners, students will select from two strands for a two-week course of study:

Gizmos & Gadgets

Animating Public Space

Who are the internationally renowned scholars and current practitioners?

So glad you asked! They include Rose Bond (founder-director of Boundary Crossings), David Eckhard, Norman Klein,  Marina Zurkow, and Lorelei Pepi. Read more about each artist on the PNCA website.

This post brought to you by Oregon Cartoon Institute.

The Portland That Was is a public history/public art project which uses 12 films from Dennis Nyback’s archive to engage the ghosts of collective memory in site specific ways. Mack McFarland and Dennis Nyback collaborated to create twelve short videos, drawing on Dennis’ films. Damon Eckhoff designed an interface which embedded YouTubes in a Google Map, and I produced.

Probably the most satisfying part of the project was the All Night Caravan which had audiences trooping around after Dennis and Mack as they went from site to site in downtown Portland. Shift 2 Bikes’ Ken Southerland helped with this, moving Dennis’ 16mm projector and equipment from place to place sans automobile, as Dennis screened his archival films against buildings, or, in one instance, a moving Max train.

Executed guerrilla style, without permits, and with crowd sizes from 20 to 100, the All Night Caravan was a one time event, which will likely never be repeated.

For the record, it was the college interns who worked on The Portland That Was who insisted on the All Night Caravan. They were adamant, so we complied. Security guards showed up at #4, and cops at #5, but the show went on.

1. Lincoln High School, now Lincoln Hall
Address: Across from 1620 SW Park
Film: THE SCREWDRIVER, 1941
7 minutes, black & white

Mel Blanc invented the voice of Woody Woodpecker while attending Lincoln High School. Blanc provides all the character voices in this early Woody Woodpecker cartoon, which features an unusually psychotic version of the much beloved cartoon character.

2. Keller Fountain
Address: across from 222 SW Clay
Film: WE ARE THE CITY, 1972
15 minutes, color

Portland filmmaker Tom Chamberlin made this educational film for use in classrooms across the country. Two Portland mayors, Terry Shrunk and Neil Goldschmidt, have cameos, as does the Forecourt Fountain, now known as Keller Fountain.

3. Keller Auditorium
Address: across from 222 SW Clay
Film: WILKIE & McNARY KNOW THEIR FARMING, 1940
10 minute, black & white

The Republican Party chose Oregon Senator Charles McNary as the running mate to their 1940 Presidential candidate Wendell Wilkie. A campaign rally was held at the Public Auditorium (the building which preceded the Keller Auditorium). That audience very likely saw this film.

4. Quest Fountain at The Standard
Address: outside 900 SW 5th
Film: THIS IS PORTLAND, 1971
8 minutes, black & white

Portland filmmaker Tim Smith was 15 when he sent up a locally produced television travelogue show “Don & Bettina” in this spoof starring his brother Duncan Smith and future Oregonian columnist Elinor Markgraf.

5. Pioneer Courthouse Square, site of the old Portland Hotel
Address: SW 6th between Yamhill & Taylor
Film: GEORGE OLSEN, 1940’s
10 minutes; black & white
Jazz age superstar George Olsen was born in Portland and played at the Portland Hotel before he was discovered and brought to New York.

6. Former Headquarters of PGE (in the Electric Building)
Address: outside 621 SW Alder
Film: IT CAN BE DONE, 1937
20 minutes, black & white

The employees of Portland General Electric made this short film to encourage Depression Era farmers to electrify.

7. Site of Northwestern, Inc., recording studio
Address: outside 415 SW 13th
Film: WHERE THE ACTION IS, 1965
8 minutes, black & white

Paul Revere and The Raiders recorded “Louie Louie” at Northwestern, Inc. in the spring of 1963. Two years later they were hosts of a daily half hour television show on ABC.

8. Low Brow lounge
Address: outside 1036 NW Hoyt
Film: BLITZ ME!, 1960’s
14 minutes, color and b & w

What may not  be apparent to people visiting The Portland That Was today: Damon Eckhoff designed the YouTube/Google Maps interface from scratch. Google followed suit a month later, making this option available to Everyman. But Damon’s mashup was his own.

Filmmaker Rose Bond helped create this “making of” featurette by serving as the off camera interviewer. Howard Brotine edited it together. Both early, and wonderfully loyal, supporters of the Oregon Cartoon Institute!

Thanks, Howard!

Thanks, Rose!

If you happen to be in LA: On Nov. 13, 2010, Dennis Nyback and I will be giving a talk about The Portland That Was at the Reimagining The Archive conference at UCLA.

Basil Wolverton displays his pioneering “spaghetti and meatballs” approach to human anatomy.

As Oregon Cartoon Institute heads into its fourth year, I sat down to retrace the steps that led to its creation.

This timeline of development was originally written for Jill Hartz, at the Jordan Schnitzer Museum of Art. Thank you, Jill, for providing me with the impetus to pull this together!

1990’s in New York

As I fly back and forth between Portland and New York, I begin noticing the way Oregon press underplays the fame of Oregon’s most well received artists (Chuck Palahniuk a great example ) while at the same time New York press omits the Oregon citizenship of an artist all together. I begin to understand the way this has created a misperception that Oregon does not produce artists.

At about this same time Columbia sportswear begins showing up on the subways. The Simpsons are becoming a cultural mainstay. Elliott Smith, the Dandy Warhols, Courtney Love, Gus Van Sant — I start to feel  surrounded by Portland even when I am 3,000 miles away.

1999 visiting Portland

David Chelsea tells me about Basil Wolverton.

I knew about Homer Davenport, the Hearst newspaper cartoonist from Silverton.

I’d heard about Mel Blanc, Portland’s most reknowned voice artist.

But I am stupefied by Wolverton. How could a guy from Central Point (pop: 12,000)  influence an entire generation of  Americans? And do it via Mad Magazine ?

A seed starts to sprout in my mind.

2001, in Portland

Dennis Nyback and I teach an avant garde film survey course at Northwest Film Center. Preparing for it, I discover avant garde animator Harry Smith was born in Portland.

Smith was both the disciplined, insightful, completely original collector behind Folkways’ enormously influential Anthology of American Folk Music and a self taught, extravagantly experimental, completely original filmmaker. I never dreamt he had anything to do with Oregon.

In my previous understanding, Oregon rarely produced nationally known artists.

Now with Harry “High Brow” Smith and Basil “Low Brow” Wolverton in the picture, I am completely confused.

2003 in New York

Standing in Kim’s Video, I stumble across a footnote in a book about Robert Crumb which identifies Carl Barks, creator of the comic books which were a huge influence on Crumb, as being from Merrill, Oregon.

I turn the book over to see who wrote it — D. K. Holm, from Portland.

At this point I compile a list of living and dead Oregon cartoonists and animators and send it to John Canemaker, asking what he thinks. He calls me, excited and impressed.

He adds two new names.

He tells me Marc Davis, one of Disney’s Nine Old Men, graduated from high school in Klamath Falls

and that Pinto Colvig, an early animator turned voice artist, is from Jacksonville.

2006 in Portland

Dennis and I interview Portland cartoonist  John Callahan for The Portland That Was.

Callahan is surprised to learn that Mel Blanc, a life long hero, is from his own home town. Our intern, a graduate of Lincoln High School, the school Blanc attended, tells us she never heard of him.

About this time, graphic journalist  Joe Sacco returns home to live in Portland, bringing with him his 1996 American Book Award.

Dennis and I return home too.

2007 in Portland

We hold the first Oregon Cartoon Institute public event, a three week screening series at Disjecta of 16mm animation from Dennis’ collection. Jim Blashfield and Rose Bond come and speak. Both have conducted far ranging film careers from Portland.

Blashfield made his acclaimed music videos here, and Bond her monumentally scaled installations. Both use animation.

Our model for engaging audiences emerges  — we will use living artists as interpreters as we raise awareness about the dead ones. Chel White, Bill Plympton, Joan Gratz, Joanna Priestly, Marilyn Zornado and Will Vinton loan us 35mm prints for the final night of the Disjecta series, which takes place at the Hollywood Theater.

Second Oregon Cartoon Institute event: Dennis conducts video interviews with visiting and local artists at the Platform International Animation Festival. We put these online.

At this point, I thought we had found all the historic Oregon animation and cartooning figures there were to find.

I was wrong.

In the course of researching Oregon film history for the Oregon Sesquicentennial Film Festival, I stumble across George Bruns, a four time Oscar nominee for animated film scores, from Sandy

and Dennis stumbles across Ralph Wright, who won the Golden Bear in Berlin in 1957. He’s from Grants Pass.

2009 in Portland

Third Oregon Cartoon Institute event: we co-sponsored Bill Plympton Day at the Oregon Sesquicentennial Film Festival at Marylhurst.

Bill is as fascinated with this history as we are.

Not all our research comes from history books. Some comes from the news. Just when we weren’t looking,  Brad Bird received first one, then two Oscars.

Looking ahead:

An interview about Oregon Cartoon Institute’s next public event, which will take place in 2011, can be found online at  KBOO.fm. Conducted by S. W. Conser as part of his Words & Pictures series, this interview introduces our first artist in residence, Heather Perkins.

Oregon Cartoon Institute is all about partnerships. As soon as the details get finalized, we will announce our upcoming partnerships with others who share our goal of raising public awareness of  this state’s rich animation and cartooning history.

Bill Plympton listens to Rose Bond describe the new multi-disciplinary animation arts program she just founded at PNCA. Both Oregonians were featured guests at this year’s Animated Exeter in England, where this picture was taken. Photo credit: Linda Kliewer

From PNCA’s press release:

Pacific Northwest College of Art  is pleased to announce that the College has approved a new Contemporary Animated Arts BFA program, the first of its kind in the United States, to begin in the Fall 2010 semester.

Contemporary Animated Arts embraces the hybrid-moving image by combining fine art practice and digital technologies.  At a time when the boundaries between live action, animation, painting, photography, illustration and design are dissolving, an interdisciplinary fine art approach encourages students to re-imagine and create frame-based work for multiple platforms.

Contemporary Animated Arts engages students from diverse practices-photography, sculpture, illustration, painting and animation-with a focus on composing serial frames as a means to express an idea through structure, pace and rhythm and the interplay between image and sound.

Department Chair Rose Bond says of the new program, “Contemporary Animated Arts will reinforce moving image education through research and practice, with the aim of creating artists, innovators and directors who explore the potentials of narrative. This unique course of study will advance a new generation of multi-disciplinary artists.”