Showing posts with label stop motion. Show all posts
Showing posts with label stop motion. Show all posts

11 December 2025

In Memoriam: Masaaki Mori, Pioneering Japanese Clay Animator

 


This has been a very difficult year for the tight knit Japanese independent animation community as we were rocked by the sudden passing of much-loved stop motion animator Masaaki Mori (森まさあき, 1955-2025) on Monday, March 24th, 2025. I was able to pay my respects to a warm, sociable man who had quickly become my friend since I became a JAA member at the well-attended public service that was held Sunday, March 30th at Comwell Hall Koenji in Tokyo.

 

A special memorial event called “My Story: Time Spent with Professor Mori Masaaki” 追悼企画「マイ・ストーリー 森まさあき先生と歩んだ時間」 was held at ICAF (the Inter College Animation Festival) at the National Art Center on Saturday, October 11th. Hosted by his peers IKIF (Kifune Tokumitsu木船徳光 + Ishida Sonoko 石田[木船]園子) with participation by his former students independent animators Qrais (キューライス), Shōta (しょーた), and Madhouse Animator Chie Yamashiro (山城智恵).

At this event we had the opportunity to see rare 8mm works made in Mori’s youth as well as a number of his television commercials. It was clearly a trip down memory lane for his peers. His former students shared anecdotes from their time with their animation sensei. The overall picture matched the man that I knew: warm, funny, gregarious, generous to a fault… and unbelievably supportive of his former students in all their endeavours. It was clear that he was much more than just a mentor to them. He was like a family member.

An Overview of Mori’s Life 

 Born in Shizuoka in 1955, Mori initially studied accounting at Chuo University under pressure from his father to take over the family business. However, his real passion was animation and puppetry and he eventually convinced his father to allow him to switch to a career in the arts. As a child, puppet shows on the public broadcaster NHK inspired Mori to start making his own puppets. His mother encouraged his interest by buying him a book on how to make puppets using papier-mâché. A screening of the original King Kong sparked his interest in the technique of stop motion, and his uncle, a graphic designer, taught Mori and his older sister how to make stop motion using vinyl figurines and an 8mm camera. His father bought him a Single 8 Fujifilm camera, which he used to make both animation and live action with special effects with his school friends.

While at prep school in Koenji, Mori bought a copy of the entertainment magazine PIA at a bookshop and came across an advertisement for a Ray Harryhausen special screening by the animation research group Anido featuring an image of the Cyclops from Jason and the Argonauts (Don Chaffey, 1963). Mori loved the film when he had seen it on TV, but this was his first time learning the name of the man responsible for the stop motion special effects. After the screening, he saw an ad in PIA by a group called Arugo Tankentai (Copycat Expedition Team a play on the Japanese title of Jason and the Argonauts, Arugo Tankeitai no Daibouken, which literally translates as The Great Adventure of the Argo Expedition Team) evoking Harryhausen’s name.



Outside of Japan, Mori is known for his work with renowned puppet animation pioneer Kihachirō Kawamoto. He was one of 35 animators who contributed animated shorts to Kawamoto’s adaptation of Bashō’s renku poem Winter Days (Fuyu no hi, 2003). Mori adapted stanza 30 by Kakei using his signature clay animation pigs. The amusing scene of a biwa playing pig amusing three noble pigs in a garden of hibiscus flowers is typical of Mori’s use of humour in his works. He was also one of the main stop motion animators who worked on Kawamoto’s final masterpiece, Book of the Dead (Shisha no Sho, 2005).

In addition to his creative work, Mori was an active member of the animation community as vice chairperson of the Japanese Animation Association (JAA) and an animation professor at Tokyo Zokei University from 2005 until his retirement in 2021. He was a beloved mentor to many young students introducing them to stop motion from around the world


He was a regular attendee of animation festivals across Japan where he loved making new friends and having deep conversations about the art and craft of animation. He also loved documenting the attendees of animation events taking selfies with his friends and new acquaintances. His friends and family gave him his final farewell with a tribute of flowers. During his open casket service, we could see that clasped in his hands was a photograph of Mori with his hero Ray Harryhausen. We will remember him for his enthusiasm for stop motion and his welcoming smile.

The Tokyo Anime Award Festival (東京アニメアワードフェスティバル) has announced that Mori Masaaki will be posthumously celebrated at the 2026 festival in March. If you are in Tokyo March 13-16, I recommend coming to see a selection of his representative works (selected works TBA).


The information in this obituary is based on my conversations with Mori-san over the years, information presented at his retirement exhibition at Tokyo Zokei University in 2021, and the interview by Takanaka Shimotsuki published by Zokei in advance of the exhibition.

2025 Cathy Munroe Hotes

04 April 2024

Bashamichi Art Vision / 馬車道アートビジョン

 

In celebration of the 20th anniversary of the opening of the Minatomirai Line in Yokohama, The Bashamichi Mirai Project (馬車道みらいプロジェクト) commissioned local artist Yuichi ITO (伊藤有壱) to do a video installation on the iconic domed ceiling of the station on weekends during the month of March. Ito is a renowned stop motion animator, known for his ongoing NHK television series KNYACKI! (ニャッキ!, 1995-present). He has also made animated shorts set in Yokohama such as Harbor Tale (2011) and Blue Eyes in Harbor Tale (2014). In addition to his team at I.TOON Ltd, Ito had technical assistance from Yuichi MATSUMOTO (松本祐一), Akimasa OISHI (大石彰誠). 



Bashamichi Art Vision was designed to honour Yokohama’s deep ties to photography and film culture. The first commercial photography studio was opened in Yokohama by Renjō SHIMOOKA (下岡 蓮杖, 1823 – 1914) in 1862, and Shimooka is often called the father Japanese photography. In more recent history, Tokyo University of the Arts (aka Geidai) opened its Graduate School of Film and New Media in the Bashamichi district in 2005. Ito has been teaching at Geidai’s Graduate School of Film and New Media since they opened their animation department over 10 years ago. 

When I visited Bashamichi Station with my husband, Stefan Hotes, on Saturday, March 23, Ito told us that he had been thinking about doing such an installation for 18 years. Inspired by the design of space created by architect Hiroshi NAITO (内藤廣), Ito came up with the concept of making a modern version of the 19th century optical device, the Phenakistiscope (also known as Odoroki-ban in Japanese) projected onto the domed ceiling. 




 The installation consisted of 5 projected videos that each ran at about a minute and a half. The themes were as follows:
 
 ①      Minato Mirai Line 20th Anniversary Video 
           みなとみらい線開業20周年アニバーサリー映像 

 A collection of historical images of the port city of Yokohama. 

②     Garden Necklace Yokohama 2024 Sequence 
         ガーデンネックレス横浜2024 イメージムービー 

 Ito is the designer of the Garden Bear character used by the city of Yokohama to promote its Garden Necklace events (events that take place at the beautiful city gardens, which have been included by foreign trends in gardening, such as the English rose garden style). 

③     GREEN EXPO 2027 Sequence 2027
         年国際園芸博覧会 イメージムービー 

Yokohama will be hosting the World Horticultural Exposition in 2027 with the theme “Scenery of the Future for Happiness” with an estimated participation of 80 countries. The Expo will run from March 19 to September 26, 2027. 

④      Art Video 1: “Phenakistiscope” 
        アート映像1 「フェナキスティスコープ」 

This projection used historic Phenakistiscope discs named horse 「馬」, flower「花」, and dance「ダンス」, which were really perfect for the location. The place name “Bashamichi” translates as “horse-drawn carriage way,” as it was the way that horse-drawn carriages would go on their way to and from the port when it opened. Professor Emeritus Machiko KUSAHARA (草原真知子) of Waseda University, a world-renowned collector and researcher, provided the discs for the creation of the installation. 

⑤     Art video 2: “The Road Leading to the Harbour'” 
        アート映像2 「港へつづく道」 

The last installation was a collaboration between Ito and leading Yokohama photographer Hideo Mori (森日出夫). The Bashamichi area has long been known as “From 'Isesaki to Bashamichi and Bankoku Bridge to the harbour” 「伊勢佐木から馬車道、そして万国橋が港に連なる」. The theme is how the landscape of the port changes with the times… which was also the theme of Ito’s animation Harbor Tale, which they also collaborated on. The 20th anniversary edition of Harbor Tale with Book can be ordered here.

2024 Cathy Munroe Hotes

08 January 2024

NIAFF 2023 Archive/アーカイブ: Dwarf Studios’ Talk /「ドワーフ」トーク

 


In addition to its feature film competition, the Niigata International Animation Film Festival (NIAFF) also shines a spotlight on the latest trends in the animation industry. One exciting development in the past two years has been the production journey of the innovative stop motion animation Hidari (2023), which has taken social media by storm. One of the stop motion studios involved in its production, Dwarf (Domo-kun, Komaneko, Pokemon Concierge), was also celebrating its 20th anniversary in 2023. 

At the centre of the Hidari project is director Masashi KAWAMURA (川村真司) of Whatever Co, an ambitious entrepreneur who grew up watching the words of creators Ray Harryhausen, Kihachirō Kawamoto, and Phil Tippett. He had a dream of creating a feature length stop motion samurai epic, so he partnered with Dwarf and Tecarat (Gon, the Little Fox, Pukkulapottas and Hours in the Forest) to take his creative vision to the next level. The stop motion is done at Dwarf and Takeshi YASHIRO (八代健志) of Tecarat designs and carves the wooden puppets.

They completed a short film as a pilot for the feature film project and this screening at NIAFF helped them get the word out about their crowdfunding campaign to get the funds to make the dream of a full feature length tale a reality. Check out the official YouTube channel to set how they made it. The pilot has gone on to win awards at festivals around the world.

 

The story is the legend of Jingorō Hidari (左 甚五郎), the Japanese equivalent of a Renaissance man who was a sculpture, carpenter, painter, architect, storyteller, and artist. As he name, “Hidari” (left) indicates, he was lefthanded and had a missing right arm. There are many tales as to how he lost his right arm, often involving jealous rivals. Yashiro’s puppet of Hidari has a giant, wonderfully intricate left hand that the animators use in many creative ways for fight scenes. 

The Talk Event at NIAFF 2023 featured Kawamura, Yashiro, and the acclaimed Dwarf Studios director Tsuneo GŌDA (合田 経郎) and producer Noriko MATSUMOTO (松本紀子). They also brought the puppet of Hidari for audiences to see the amazing detail that went into its design. The NIAFF archive clip starts with a slideshow of the Hidari event, then shows excerpts from the Dwarf Studios discussion about the magic of the technique of stop motion (komadori in Japanese) with two of the studios most well known original characters, Domo-kun and Komaneko on the display table. If you do not understand Japanese, please use the captions auto-translate function on YouTube for the language of your preference.


 

In the run up to the second instalment of NIAFF in March 2024, the festival is sharing highlights of last March’s festival every Tuesday on its YouTube Channel. Subscribe to see more. 

 2024 Cathy Munroe Hotes

20 August 2023

90s Animation at “Into Animation 8”


90s Animation 
90年代アニメーション 
 
I first discovered independent Japanese animation while living in Tokyo in the mid-2000s, and through my research have learnt a lot about current and early independent animation, but I haven’t yet had the opportunity to thoroughly research the animation practices of the 1980s and the 1990s in Japan.  So, I was thrilled to discover that JAA members decided to hold a special screening of works form the 1990s at Into Animation 8 earlier this month. 

The selection was presented mostly chronologically, with pauses after every few films to introduce the JAA members responsible for the animation. Each animator featured in this program has their own unique individual animation style.  Highlights for me included Katsushi BOWDA’s renowned rhythmic stop motion work Pulsar, Yūko ASANO’s brilliant stop motion The Life of Ants, IKIF’s experiment with pixilation, Stop Motion with the ZC1000, Yukio HIRUMA’s mixed media self-reflexive work Magical Product and, of course, the beautiful calligraphy style of Azuru ISSHIKI with her 1992 work Wind. It was such a thrill to meet many animators whose work I had admired for years at Into Animation 8, such as Isshiki and Hal FUKUSHIMA, whose work Manabu’s World screened.  

Something very particular to the 80s and 90s were the examples of VIBE IDs: short short animations for station identification that would appear on MTV or other channels after commercial breaks. In effect, they are animated logos for the TV stations.  The 3 examples by Keita KUROSAKA are in his signature body horror / gore horror style and must have made a memorable impact on audiences at the time.  Kōji YAMAMURA’s were also in a visual style unlike any other animators working in Japan at that time. Tatsuyoshi NOMURA’s well known short shorts from the time were also shown. 

The screening closed with the youngest of the filmmakers Saku SAKAMOTO, whose work I first encountered at Nippon Connection in 2008 as part of the Open Art Animation selection.  His film The Fisherman (2002) had made an impression on me and it was nice to see another early work by him.

After the screenings, we moved to the workshop room where Tokumine KIFUNE (IKIF), Yukio HIRUMA (Bunka Gakuen University), Tatsuyoshi NOMURA (Robot, Tama Art University), and Katsushi BOWDA (BOWDAS) held a roundtable discussion about animation in the 1990s.  This included an overview of the technology that they had at their disposal for making animation, the rapid changes in technology, etc.  There was also a discussion about how the JAA played a role in creating events for their works to be screened.  The first of the INTO ANIMATION events was held in the 1990s and began to be held every couple of years up until the COVID-19 pandemic interrupted the cycle.  The event was moderated by Jun MIYAMORI (宮森潤), who had put together a terrific Excel timeline that he shared with us on screen.  

Screened works: 


Pulsar
(1990) 
パルサー / Parusā / 3’10” 
dir. Katsushi BOWDA / 保田克史 


Wind
(1992) 
 風 / Kaze / 3’40” 
dir. Azuru ISSHIKI / 一色 あづる 


Stray Sheep Series
(3 short shorts) 
ストレイシープシリーズ (3本 ) 
  • Stray Sheep: Submarine (1994) 
  • Stray Sheep: Bath (1995) 
  • Stray Sheep: Merry-go-round (1995) 
Midnight Restaurant (1994) 
ミッドナイトレストラン 
2’00” 
dir. Tatsuyoshi NOMURA / 野村 辰寿 




Manabu’s World (1991) 
マナブ君の世界 / Manabu-kun no Seikai / 2’03” 
dir. Hal FUKUSHIMA / 福島 治 


Magical Product
(1992) 
マジックロール・プロダクト  / 6’12” 
dir. Yukio HIRUMA / 昼間 行雄 





Kipling, Jr. (1995) 
キップリングJr. / Kippulingu Jr. / 14’00” 
dir. Kōji YAMAMURA / 山村 浩二 



ATAMA (MTV Japan, 1994) 
Flying Daddy (MTV Japan, 1997) / パパが飛んだ朝 / Papa ga Tonda Asa 
DRAGON (Vibe pics, 1999) 
1’40” 
 dir. Keita KUROSAKA 黒坂 圭太 



VIBE-ID (1999) 
 2’24” 
dir. Kōji YAMAMURA / 山村 浩二 

浅野優子『蟻の生活』(1994)【excerpt】 from KRAUT FILM on Vimeo.

Note: you need to be logged into Vimeo to see the above excerpt.



The Life of Ants (1994) 
蟻の生活 / Ari no Seikatsu 14’09” 
dir. Yūko ASANO /  浅野優子 


Stop Motion with the ZC1000
(short version) (1993) 
ZC1000で コマ撮りした (短縮版) / ZC1000 de komadorishita (Tanshukuban) / 10’00” 
dir. IKIF (animation duo Tokumine KIFUNE 木船徳光 and Sonoko ISHIDA 石田園子) http://www.ikifplus.co.jp/ikif/ 


Kai dōryoku REAL (1998)
快動力 REAL / 6’00” 
 dir. Katsuyoshi BOWDA  保田克史 







Maka fushigi (2000) 
摩訶不思議 / 10’26” 
 dir. Saku SAKAMOTO 坂本サク






©2023 Cathy Munroe Hotes

16 August 2023

Katsuo Takahashi Featured Event: Exploring 3D Animated Films


Katsuo Takahashi Featured Event: Exploring 3D Animated Films 
高橋克雄特集/立体アニメーション映画への模索 

 As part of this year’s Into Animation 8 event at The National Art Center in Roppongi, JAA member Kariko TAKAHASHI (高橋佳里子) put together a retrospective in honour of her late father, the stop motion animator Katsuo TAKAHASHI (高橋克雄, 1935-2015). The event was hosted by celebrated stop motion animator, Masaaki MORI (森 まさあき, b. 1955). 

Born in Nagasaki, Katsuo Takahashi is considered a pioneer of stop motion animation and early children’s television programming in Japan. He founded his own studio called Tokyo Central Puppet Theatre (東京中央人形劇場) which later became Tokyo Central Productions (東京中央プロダクション). His work ranges from shorts for the NHK (Japan’s public broadcaster) to films commissioned by the Japanese government to promote Japanese culture and interests abroad. 


The program gave an overview of Takahashi’s career, interspersed with discussions between his daughter and Mori. Mori recalled seeing some of Takahashi’s children’s television shows broadcast when he was a child. Kariko Takahashi shared behind the scenes details about the making of the programs and Mori shared his observations of the work from the perspective of a professional stop motion animator. 



Some of the highlights included a photograph of Takahashi with Norman McLaren and others at the NFB in Montreal taken during the 1967 Expo, photographs of audiences viewing his work internationally, and a cameo of Tadahito MOCHINAGA’s Pinocchio stop motion character from Rankin/Bass’ The New Adventures of Pinocchio (1961) in one of Prince Shisukon’s adventures. 

Screened Works: 


 Fairy Tale Series (1979 – 1985) “Little Red Riding Hood” and others 
メルヘンシリーズ「赤ずきん」他 
 Those others included “Jack and the Beanstalk,” “Hanasaka Jiisan,” and “The Wizard of Oz.” 

 Wan Way Street (1957) , Ep. 3 “Battle of Potato Island” 
わんウェイ通り 第3話「ポテト島の海戦の巻」 

 Prince Shisukon (1963) Opening Credits 
シスコン王子・オープニング映像 

 Land of Dreams: Zipangu (Yumi no Kuni: Zipangu) and Kaikoku zen kisaki 
「夢の国・ジパング」「開国前后」 

 Mrs. 21st Century (Misesu 21 Seiki, 1971) 
ミセス21世紀 

 Princess Kaguya (Kaguya Hime, 1972) 
かぐやひめ 

 To learn more about Takahashi’s work, check out his daughter's official YouTube channel and the Tokyo Central Production 高橋克雄著作権事務所 Facebook page. 

 © 2023 Cathy Munroe Hotes

31 August 2022

Hiroshima Animation Season 2022: Day 1

The first day of Hiroshima Animation Season 2022 was the easiest for me to negotiate because there were fewer scheduling conflicts than on other days. While on one hand it is wonderful for an animation festival to be jam-packed with excellent films and events, on the other hand it forces hardcore animation devotees like myself to make difficult screening choices. 

As with the original Hiroshima International Animation Festival, the central venue was JMS Aster Plaza with its two large concert halls and community spaces. The new festival opened up screening venues to include local businesses and institutions such as the Hiroshima City Cinematographic and Audio-Visual Library, Yokogawa Cinema, and Salon Cinema. I had hoped to be able to squeeze in seeing some of the anime classics on the big screen such as The Little Prince and the Eight-Headed Dragon (わんぱく王子の大蛇退治, 1963) and The White Snake Enchantress (白蛇伝, 1958), but it was simply impossible. Even though I was unable to partake in these offsite screenings, I feel that it was a good idea to include local businesses. These screenings were more likely than the central venue to draw in local crowds and engaging with the local community is an important part of any festival. From what I understand, many of these events were well-attended, which bodes well for future collaborations with local establishments. 

The first thing I noticed on Day 1 was that instead of stalls run by animators and artists from elsewhere in Japan, all of the vendors were local businesses selling their crafts and other wares. One really big problem for the festival is that the JMS Aster is not close to many restaurants and the one in-house restaurant takes its Obon summer holiday during the festival. It was great to see stalls selling coffee, baked goods, and even fresh hamburgers, so that we could grab a quick bite between screenings. 

I began the festival with one of the Hiroshima Animation Season Classics screenings: Karel ZEMAN’s Inspirace (水玉の幻想, 1949) and Invention for Destruction (CZ: Vynález zkázy / JP: 悪魔の発明, 1958). Inspirace had no dialogue and needed no subtitles and Invention for Destruction was shown with Japanese subtitles only. There were several screenings without English subtitles that offered a “whispering” where one could sit in a section of the theatre where an interpreter would live “whisper” the proceedings in English to those who could not understand the Japanese. As someone with sensitive hearing, I found this really obnoxious. Even though I sat far from the whispering section, I could still hear the whispering and it felt like someone was rudely talking during the screenings and events where it was happening. I don’t understand Czech and I can’t read Japanese quickly enough for the subs, but as I was familiar with the film, and I just focussed on enjoying the animation on the big screen. Zeman’s films may be more than 60 years old now but they have not lost their ability to inspire wonder at their technical brilliance. 

After briefly considering hopping on a streetcar to the Cinematography Library to see The Little Prince and the Eight-Headed Dragon, I decided to listen to my stomach instead and headed to the legendary local restaurant Otis! with its delicious Tex-Mex and vegetarian dishes. The walls are filled with the signatures and drawings of animation guests past as the venue opened in 1987 and is an easy walk from the JMS Aster. I was delighted to find the interior and the hosts unchanged from my last visit in 2014, and I found fellow animation researchers Jason Cody Douglass (Yale) and Chris Taylor (John Hopkins) at a table inside. We discussed our viewing plans for the festival and just as I was about to pay my tab, I heard my name spoken behind me by the stop motion animator Masaaki MORI (森まさあき). 

I first discovered Mori’s work when he participated in the Kihachirō KAWAMOTO omnibus work Winter Days (冬の日, 2003) with his delightful clay pig figures. Mori retired from Tokyo Zokei University last year and I went to see his retirement exhibition on the Zokei campus (see the above instagram post). Since joining JAA late last year, I have encountered Mori often and we seem well on our way to becoming fast friends. In Otis!, Mori introduced me to Yoshimi KAKURAI (加倉井芳美) and Masaaki OIKAWA (及川雅昭) , the PR rep and producer for TECARAT studios. Unfortunately, director and stop motion animator Takeshi YASHIRO (八代健志) could not come to Hiroshima due to the production of Hidari – you can follow the exciting progression of this new stop motion animation on Tecarat’s Instagram. 

I had not yet met Yashiro, but my Nippon Connection selection for this year featured his Noburō Ōfuji Award-winning short animation Pukkulapottas and Hours in the Forest (プックラポッタと森の時間, 2021) and I had been fascinated by his adaptation of Nakashi NIIMI’s Gon, the Little Fox, which I saw at a stop-motion animation in Kichijoji shortly after I moved back to Japan in 2019. 

Even though Yashiro was not at the festival – I was able to meet Gon the fox! Such a beautifully crafted puppet: 

 After getting to know more about Tecarat Studios, we headed to the Opening Ceremony and Golden Carpstar Award Ceremony, which I will discuss in my next post. 

Coming Soon: Hiroshima Animation Season: Day 1 Opening Ceremony

2022 Cathy Munroe Hotes

08 May 2022

Resonance – A Selection of Japanese Animated Shorts




Resonance – A Selection of Japanese Animated Shorts
Sunday, 29 May 2022, 14:45
Naxos Cinema
Frankfurt am Main

I am proud to announce my animation selection for this year’s Nippon Connection in Frankfurt am Main.  Unlike my friends and colleagues overseas, my cinema-going habits have not been infringed upon by pandemic restrictions… I have only missed out on many of the usual social activities in the animation community here in Japan.   Any pandemic depression has been alleviated by the beauty of the animation I have seen in the past year and my mind has been engaged by the compelling ideas that Japanese and Japan-based animators have been exploring through their work.

This selection represents the best of the films whose images and ideas resonated in my mind for weeks and months after seeing them.  YANO Homami’s compelling pointillist A Bite of the Bone (my review), the first animation produced by YAMAMURA Kōji’s Au Praxinoscope, has been collecting awards at festivals around the world including OIAF and DigiCon6.  Another former Geidai student of Yamamura, YUKI Yōko (幸洋子) has just released her new film produced by Au Praxinoscope: In the Big Yard inside the Teeny-Weeny Pocket (ミニミニポッケの大きな庭で, 2022) which I am hoping to see at the Hiroshima Animation Season.

We have shown films by Yano, IWASAKI Hirotoshi, TABATA Shizuki, KUDO Masa, KIM HakHyun, and HIRANO Ryō at Nippon Connection before and I am delighted that these artists are continuing to make such excellent work. Trigger warning for Hirano's Krasue - it has horror motifs and is not appropriate for children.

I discovered the work of SAKAKIBARA Sumito for the first time this year watching the New Chitose online selection.  Originally from Hokkaido, Sakakibara lives and works in Nagano Precture but got his animation training in the UK.  His use of colour in Iizuna Fair is quite fantastic and I love the slow tracking shot from right to left like the deliberate unfurling of a scroll – check out the trailer here.

YASHIRO Takeshi’s reputation for unique stop motion animation with a handmade feel has grown and grown since he started specializing the aesthetic in 2012.   His talents were recognized by his peers this year when he was awarded the Noburō Ōfuji Award at the Mainichi Film Awards for Pukkulapottas and Hours in the Forest.  The film experiments with stop motion using location timelapse photography (ロケコマ撮り/ Roke-komadori).

My thanks to the animators and to Florian Höhr for his hard work at Nippon Connection.


A Bite of the Bone / 骨嚙み / Honekami
YANO Homami / 矢野ほなみ / 2021
10 min.





On Time Off Time
IWASAKI Hirotoshi / 岩崎宏俊 / 2020
9 min. 8 sec.







Iizuna Fair / 飯縄縁日 / Iizuna Ennichi
SAKAKIBARA Sumito / 榊原澄人 / 2021
11 min. 32 sec.







Monorail
 
TABATA Shizuko / 田端志津子 / 2020
7 min 15 sec.







Still Life
KUDO Masa / 工藤 雅 / 2021
3 min 30 sec.







RED TABLE
KIM HakHyun / キムハケン / 2021
7 min 22 sec.







Pukkulapottas and Hours in the Forest
 
プックラポッタと森の時間 
Takeshi YASHIRO / 八代健志 / 2021
15 min 27 sec






Krasue
HIRANO Ryō / ひらのりょう/ 2021
11 min 50 sec.




 2022 Catherine Munroe Hotes

07 October 2021

Crowdfunding: 10th Anniversary Edition of Harbor Tale DVD + Book

 


This year marks the 10th anniversary of the release of the charming animated short Harbor Tale (ハーバーテイル, 2011).  To celebrate the occasion, the animator Yūichi ITŌ (伊藤有壱) and his team at I.TOON are crowdfunding for a special edition DVD and book on CAMPFIRE. 

 I have been a fan of Itō’s stop motion animation since I first discovered the delightful series Knyacki! (ニャッキ!, 1995-) on the NHK when my children were small. He has a real knack for expressive character design and diverting visual storytelling.

   

Harbor Tale brings to life the idiom “if these walls could talk” quite literally. The central character is Mr. Brick – one of the famous red bricks from the historical buildings of Yokohama. Through Mr. Brick’s perspective, we are taken on a colourful journey through the history of this port town from the days when the clack of geta could be heard on the city streets to the modern era. 

 It is a culturally significant work for the way that it engages audiences of all ages with the history the city of Yokohama. Since moving to Yokohama in 2019, I have been delighted to see Mr. Brick in souvenir shops all over town. Don’t miss out on your chance to support this artist. 

22 May 2019

NC2019: Tokyo University of the Arts Animation


Nippon Connection
Tokyo University of the Arts: Animation Shorts
Thursday, May 30, 12:00
Naxoshalle Kino → Learn More

Once again, Nippon Connection will be screening a selection of recent films by students of the Graduate Programme in Animation at Tokyo University of the Arts (Geidai). Since opening the department in 2008, Geidai has produced top quality animated shorts and launched or boosted the careers of many artists. These year’s selection will be presented by Ilan Nguyen who is an adjunct instructor to the Department of Animation at Tokyo University of the Arts. Nguyen is well known in the international animation community, particularly in his native France and his adopted home of Japan, as an animation expert and historian. He also works as an interpreter for many prominent Japanese animation figures when they visit France and as a cultural programme coordinator for festivals and exhibitions. On Friday, June 31st at 13:30 in Mousonturm Studio 1, Nguyen will also be giving a memorial talk Remembering Isao Takahata: A Personal View on Post-War Japan’s Most Influential Animation Director.



The Body in the Mind
あたまのからだ
Atama no Karada
by Yumeno HOSHI / 星 夢乃
2019, 6’08”






Pickle Plum Parade
うめぼしパトロール
Umeboshi Patorōru
by Eri SASAKI / ささきえり
2019, 3’50”






Keep Forgetting
何度でも忘れよう
Nando demo Wasureyō
by Takahiro SHIBATA / しばたたかひろ
2019, 10’27”






Boozy Woozy Wonderland
ワンダフル千鳥足inワンダーランド
Wandafuru Chidoriashi in Wandārando
by Shiika OKADA / 岡田 詩歌
2019, 2’25”






Nocturnal Roadwork
夜の道路工事
Yoru no Dōrokōji
Misuzu HASHIJI / 端地 美鈴
2019, 4’46”






Indoor Days
外に出ない日
Hokani Denai Hi
by Asaki NISHINO / 西野 朝来
2019, 3’07”





Dissipate
舞空
Maisora
by Kohei SAITO / 齊藤 光平
2019, 8’52”







The Death Vendor
死の商人
Shinoshōnin
by Jinkyu JEON / 全 振圭
2019, 5’40”






Hear the Snow Melt
雪解けをきいて
Yukidoke wo Kiite
by Leina MURAMATSU / 村松 怜那
2019, 4’13”






Text Complex
ひ なんてなくなってしまえ
Hi Nante Nakunatte Shimae
by Haruka HIRAMATSU / 平松 悠
2019, 6’48”






Stay with Me
湿らない 腐らない おいしく まろやか
Shimaranai Kusaranai Oishiku Maruyaka
by Yuki MAEHATA / 前畑 侑紀
2019, 4’40”






Bath House of Whales
くじらの湯
Kujira no Yu
by Mizuki KIYAMA / キヤマミズキ
2019, 6’34”





2019 Cathy Munroe Hotes