torek, 21. julij 2015

KONI STEINBACHER & JANEZ MARINŠEK

Izjemen dvojec, ki je ogromno prispeval k unikatnosti in prepoznavnosti slovenskega animiranega filma.
Ko sem videl koliko ogledov sta izbrala v 7 letih na YT, mi ni ostalo drugega kot, da ju podprem.
Podprite ju še vi!
Sramontno je kakšen odnos imamo do domačih umetnikov.
Vse kar je sosedovo je boljše. Verjemite, to velikokrat ne drži.















Koni Steinbacher, animator in režiser animiranih filmov, se je rodil leta 1940 na Pohorju. Diplomiral je na Pedagoški fakulteti v Ljubljani in od 1964 delal kot učitelj likovnega pouka na osnovni šoli v Izoli. V likovno vzgojo je začel vnašati osnove filmske animacije. Otroci so animirali okoli devetdeset nekaj minutnih filmov in v takratni Jugoslaviji opozorili nase.

Poleti leta 1970 sta Janez Marinšek in Koni Steinbacher na Goriški 9 v Izoli snovala svoj prvi animirani film Govornik. Opogumil ju je velik uspeh filma Ribič, ki so ga pod mentorskim vodstvom Konija Steinbacherja ustvarili otroci na osnovni šoli Vojka Šmuc v Izoli. Oktobra je Govornik prejel Zlato medaljo na takratnem jugoslovanskem festivalu amaterskega filma. Porodilo se je obdobje nove ustvarjalnosti, ki se navezuje na Steinbacherjevo ime, in je združevalo mentorstvo, ustvarjalnost in filmsko vzgojo. Takratna Izola še ni imela posluha za ustvarjalno novost, zato so avtorja filma in glasbenik Emil Zonta prvi filmski klub ustanovili v Kopru. Tam so nastajale nove stvaritve in krog sodelavcev in ustvarjalcev se je širil: Marjan Tomšič, Radovan Čok, Boris Benčič, Iztok Umer, Stanka Bergoč, Gorast Radojevič ...
Za opus animiranih filmov sta Steinbacher in Marinšek leta 1977 prejela nagrado Prešernovega sklada.
Nato sta nadaljevala filmsko pot v okviru takratne slovenske filmske proizvodnje Viba film Ljubljana, vendar je ves ustvarjalni proces potekal v Izoli, posebno še, ker je večino filmov realiziral Steinbacher sam. Po osamosvojitvi Slovenije sta se avtorja preizkušala tudi kot producenta svojih del. Z zadnjim filmom Mrtvaški ples se Steinbacher vrača na svoj začetek: ustvaril ga je samo iz ljubezni do filmske umetnosti.
V letih 1976 - 1986 je Steinbacher samostojno realiziral več filmov, v tandemu z Marinškom pa je v letih 1987- 89 nastala še animirana nadaljevanka Kače.
Med letoma 1993- 1997 je samostojno realiziral pet epizod animirano igrane nadaljevanke Briši-piši (Cansel- pencil) za mladinski program TV Slovenija. Po letu 1999 je realiziral vrsto filmov in za svoje delo prejel več kot petnajst pomembnih priznanj in nagrad.




PRIZNANJA in NAGRADE:
Okoli 70 priznanj in nagrad za amaterske filme doma in tujini
2. 1975 Srebrna medalja Beograd za animirani film Študent
3. 1977 Nagrada Prešernovega sklada za dosežke risanega filma (z J. Marinškom)
3. 1982 Zlata medalja Beograd za mini animirani film Epidemija
4. 1982 Priznanje Sveta YU festivala v Beogradu za pionirsko delo na področju
animiranega filma v Sloveniji.
5. 1975, 1976, 1982 Badjurova priznanja za filme Študent, Močvirje, Epidemija in
Vsiljivec
6. 1985 Zlata medalja Beograd za animirani film Kamen
7. 1989 Medalja Beograd za animacijo filma Kače - Adam in Eva
8. 2000 Priznanje Izolanima za grafično podobo filma Peter Klepec
9. 2002 Priznanje Izolanima za animacijo filma Izdelovalec mask
10. 2005 Srebrna plaketa JSKD Slovenije za dolgoletno filmsko vzgojno dejavnost.
11. 2007 »Sretni Lepenac« priznanje medn. festivala animiranega filma
BALKANIMA Beograd za (življensko delo) prispevek k razvoju animacije na
Balkanu. "Happy Lepenac" Award for the contribution to development of Balkan animation
12: Priznanja občine Izola: 1986, 2000 (Ambasador Izole) in 2012
Priznanje občine Zreče 2009

Sicer velja spomniti, da je bil Koni Steinbacher na 13. FSF v Portorožu dobitnik Vesne za najboljši animirani film, in sicer za kratki animirani film Mrtvaški ples, ki je tudi med zmagovalci 13. mednarodnega festivala Malescorto 2012 v Italiji



FILMOGRAFIJA in sodelovanje na festivalih
1970 Govornik 5 min. AAF Koper (Pula, Welden, Trst)
Korežiser. Janez Marinšek
1971 Figov list 6 min. AAF Koper (Pula, Sarajevo, Skopje, Welden, Trst, Kelibia-Tunis)
Korežiser. Janez Marinšek
1972 Superman 5 min. AAF Koper (Pula, Kelibia-Tunis, Welden, Trst)
Korežiser Janez Marinšek
1973 Koeksistenca, 2min, in Močvirje, 4min. (Pula, Trst, Skopje, Welden, Warszawa
1973 Agonija 5 min. igrano dokumentarni film AAF Koper (Jesenice, Welden, Trst, Pula, Samobor, Zadar)
1974: ŠTUDENT, 8 min. VIBA FILM (Beograd, Celje, Oberhausen, Tampere, Krakow)
Korežiser: Janez Marinšek
1965: PREHITEVANJE 8 min. VIBA FILM (Celje, Beograd)
1976: MOČVIRJE, 8 min. VIBA FILM (Celje, Beograd, Tampere)
1977: VRATA, 8 min. VIBA FILM (Beograd, Zagreb)
1978: KOKON (Metamorfoza) 8 min. VIBA FILM (Celje,Beograd, Bilbao)
1980: ANIMIRANI »A«, 12 min. VIBA FILM (Beograd, Atene)
1982: EPIDEMIJA, 2 min. VIBA FILM (Beograd, Celje, Krakow)
1983: VSILJIVEC, 5 min. VIBA FILM (Celje, Beograd)
1984: KAMEN, 8 min. VIBA FILM (Zagreb, Beograd, Oberhausen, Lucca, Melbourne)
1986: IZMIŠLJENA ZGODBA, 8 min. VIBA FILM (Beograd, Krakow)
1987-89: KAČE, 7 x 4 min. VIBA FILM Korežiser:Janez Marišek
1993-96: BRIŠI PIŠI 5 x 8 min. ARF LJUBLJANA in TV Slovenja
1999: PETER KLEPEC, 11 min. ARF Ljubljana in TV Slovenija (Zagreb)
2000: VEČERJA, 2 min. ARF Ljubljana (Bologna, Lorret del Mar)
2002: IZDELOVALEC MASK, 8 min ARF Ljubljana (Imola, Brunschweig, Barcelona, Beograd, Almeria)
2004: 99 % (SNEGULJČICA 2002) 7 min. MAYA ART (Beograd)
Korežiser: Janez Marinšek.
2007: LEPA NEDELJA PRI SV.JAKOKOBU NA RESNIKU, 8 min, MAYA ART (Beograd)
2008: EN GLAŽEK AL' PA DVA 5,05 min. TV Slovenija-mladinski program
2010: MRTVAŠKI PLES 4 min. KOST (Beograd, Čačak, Trst, Malesco, Patras
2011: GREMO V RAJ, 12 min. KOST (Korežiser Janez Marinšek)
ZAKAJ JE ISTRA TUŽNA, v produkciji KOST



Literatura
Filmografija
Režiser
Telematerija (1973)
Študent (1975)
Prehitevanje (1976)
Močvirje (1976)
Vrata (1978)
Kokon (1979)
Risani »A« (1981)
Epidemija (1982)
Vsiljivec (1982)
Kamen (1984)
Izmišljena zgodba (1986)
Kače - Gordijski vozel (1987)
Kače - Jajce (1987)
Kače - Koeksistenca (1988)
Kače - Lady Co. (1988)
Briši piši - Na zdravje (1995)
Briši piši - Za zdravje (1995)
Briši piši - Za zeleni grič (1995)
Briši piši - Za nova obzorja (1996)
Briši piši - Za boljši zrak (1997)
Peter Klepec (1998)
Večerja (2000)
Izdelovalec mask (2002)
99 % (Sneguljčica) (2004)
Lepa nedelja pri Sv. Jakobu na Resniku (2007)
En glažek al' pa dva (2008)
Mrtvaški ples (2010)
Gremo v raj (2011)
Scenarist
Študent (1975)
Peter Klepec (1998)
Lepa nedelja pri Sv. Jakobu na Resniku (2007)
Mrtvaški ples (2010)
Glavni risar
Telematerija (1973)
Študent (1975)
Prehitevanje (1976)
Močvirje (1976)
Vrata (1978)
Kokon (1979)
Risani »A« (1981)
Epidemija (1982)
Raca (1985)
Kače (1987-89)
Briši piši (1995-1997)
Večerja (2000)
Izdelovalec mask (2002)
Mrtvaški ples (2010)

Animator
Telematerija (1973)
Študent (1975)
Prehitevanje (1976)
Močvirje (1976)
Vrata (1978)
Kokon (1979)
Risani »A« (1981)
Epidemija (1982)
Vsiljivec (1982)
Kamen (1984)
Raca (1985)
Koncert za osle in klavir (1988)
Briši piši (1995-1997)
Večerja (2000)
Peter Klepec (1998)
Izdelovalec mask (2003)
Briši piši (1995-97)
Mrtvaški ples (2010)
Gremo v raj (2011)
Oblikovalec zvoka
Lepa nedelja pri Sv. Jakobu na Resniku (2007)
En glažek al' pa dva (2008)
Mrtvaški ples (2010)
Montažer
Peter Klepec (1998)
En glažek al' pa dva (2008)
Mrtvaški ples (2010)
Gremo v raj (2011)






Janez Marinšek se je rodil leta 1942. Po poklicu je bil ekonomist, na področju kinematografije je deloval kot direktor Globus filma Koper in kot predstavnik distribucije Vesna film Ljubljana, sredi devetdesetih pa tudi na Filmskem skladu Republike Slovenije, sedanjem Slovenskem filmskem centru.
Poleti leta 1970 sta Janez Marinšek in Koni Steinbacher na Goriški 9 snovala svoj prvi animirani film Govornik. Opogumil ju je veliki uspeh filma Ribič, ki so ga pod mentorskim vodstvom Konija Steinbacherja ustvarili otroci na osnovni šoli Vojka Šmuc v Izoli. Oktobra je Govornik prejel Zlato medaljo na takratnem jugoslovanskem festivalu amaterskega filma.
Leta 1971 sta ustvarila Figov list, leto kasneje pa še Supermana. Za svoje amaterske filme sta prejela okoli 70 priznanj in nagrad doma in v tujini.
Svojo profesionalno pot sta nadaljevala pri takratnem edinem slovenskem producentu Viba film in v letih 1973- 1975 posnela animirane filme Telematerija, Študent in Prehitevanje. Leta 1975 sta za animirani film Študent prejela srebrna medaljo mesta Beograd. Leta 1977 sta Janez Marinček in Koni Steinbacher za opus animiranih filmov prejela nagrado Prešernovega sklada.
Leta 1978 je Janez Marinček samostojno režiral animirani film Gor, za katerega je scenarij napisal pisatelj Marjan Tomšič, Janez Marinšek pa je bil tudi glavni animator. S Konijem Steinbacherjem sta ponovno sodelovala v letih 1987 – 1988, ko je nastala serija animiranih filmov z naslovom Kače.
Po osamosvojitvi Slovenije se je Janez Marinšek preizkusil tudi kot koproducent. Leta 2007 je sodeloval pri kratkem animiranem filmu Lepa nedelja pri Sv. Jakobu na Resniku, kjer je režijo zaupal staremu prijatelju in sodelavcu Koniju Steinbacherju. Leta 2009 pa je kot koproducent prvič sodeloval tudi pri igranem srednjemetražnem filmu Moje počitnice, v režiji Aleša Ferenca.
Umrl je 3. 4. 2013.
Mirno morje, kapitan.






ponedeljek, 13. julij 2015

JODOROWSKY & MOEBIUS - THE INCAL

The Adventures Of John Difool

Ce Qui Est En Bas/That Which Is Below (1984)

Chapter 2






























































..........................se nadaljuje.






petek, 03. julij 2015

MOONDOG: THE VIKING OF 6TH AVENUE




Prihaja novi film o tem enkratnem in neponovljivem skladatelju.
O njem lahko izveste več na tej strani.




Biography



Robert Scotto Robert Scotto, Moondog, The Viking Of 6th Avenue, The Authorized Biography, Preface by Philip Glass, CD with 28 tracks included, Process Media, USA, 2007)
Mr. Scotto has generously put the outline of his biography at our disposal. Furthermore he allowed us to publish the complete text of chapter three: Snaketime (1943-1953).
The following brief biography comes from the record company ROOF and can only serve as a short outline of Moondog´s life for the time being.
Moreover there are numerous articlesobituariesalbum reviews and particularly interviews with Moondog which partly contain quite useful and reliable information.

Once in a blue Moon(dog) ...

September 8th last year saw the passing of one of the 20th C´s most respected musical icons. Louis T. Hardin better known as Moondog was a revered pioneer on the Avant-Garde/Minimalist scene, his revolutionary attitude towards composition and melody was lauded by such eminent notables as Philip Glass and Steve Reich, while his style and attitude drew comparisons to Harry Partch. His influence can be seen in the music of Stereolab and Moonshake among others.
Bonn 26th May 1916 in Maryville, Kansas, Moondog wrote all his music in braille having lost his sight in an accident involving a dynamite cap at the age of 17. He studied music at the Iowa School for the Blind and later at Memphis. He was mostly self-taught determining chord structures by ear and developing his skills and theory from books. Initially he was drawn to the percussion element of music citing that his first drum kit at the age of five was nothing more than a cardboard box. His father, a minister had once taken the young Louis to the Arapaho Sun Dance whereupon he met Chief Yellow Calf and played the buffalo skin tom-tom, and rhythmical device that would reappear in his later work.
Perhaps to some degree the legend of Moondog supersedes his music, if that is at all possible, for in 1943 he came to New York in order to be closer to the 20thC classical scene. The name Moondog didn´t occur until 1947, reflecting on how he came by the title he remembered fondly a dog he owned way back in Missouri:
"We used to howl at the moon."
Arriving with no contacts and only one month´s rent, for the next 30 years he became something of a cultural enigma. It was during this period of flirtation with the Big Apple that the Moondog legend began. Positioning himself on 54th Street and Avenue, later to be known as Moondog corner, he would entertain crowds playing his compositions on home made drums and some portable keyboards and reciting his own poetry. His eccentricity was furthered by the fact that sporting a long beard and a spear, he wore home made clothes consisting of a robe, a Vikings helmet and leather patchwork trousers again the influence of the Indians having effect. However this unusual form of dress was to lose him prestigious contracts in die future.
As the legend would have it, musicians from the Carnegie Hall spotted Moondog just across the way from where he entertained. Impressed by what they saw they persuaded the conductor Arthur Rodzinski to let him sit in on rehearsals. It was here that Hardin was to learn about orchestration and also to witness the debut performance as a conductor of Leonard Bernstein. Moondog´s debt to Rodzinski was reciprocated by his dedication of Symphony No 50.
He became something of a celebrity when columnist Walter Winchell wrote about him in the Times. Folkways musicologist Tony Schwartz would often make field recordings of street players, such involvement with Moondog led on to several offers being made the most notable being to do a recording of children´s songs with Julie Andrews.
By all accounts he was a genial man and noted for his humour, when asked by passers by as to where he come from he would reply:
"I would tell people I was born in Sasnak .... and when they would ask where it was, I would reply that it was a mysterious place. I left it for them to work out it was Kansas in reverse."
Legendary disc jockey Alan Freed was one of the first to pick up on the Moondog sound and found himself losing a lawsuit when he named his spot the Moondog show after the Moondog Symphony. However Freed was later to become the self styled originator of the term Rock´n´Roll.
His jazz influences were cultivated while on the streets, it was there that he met Benny Goodman and Charlie Parker, the latter remarking:
"You and I should make a record."
Sadly though this never happened for shortly afterwards Parker died unexpectedly. Moondog paid tribute to Parker later on with "Bird´s Lament".
By the early seventies still on the streets, it would be hard for most to imagine that this imposing street player had released albums on labels such as Mars, CBS and Prestige. The beat generation in the 60´s had welcomed Moondog with open arms seeing him as something of a rebellious icon. By this period he had performed a poetry reading with Allen Ginsberg, appeared on stage with Lenny Bruce, Tiny Tim and in films with William S. Boroughs. He was adept at making music for films and TV commercials, one of his pieces was used for the soundtrack for "Drive. She said" starring Jack Nicholson.
As for his views about music, be would only listen to his own stating that the work of others was full of "unspecified mistakes". He considered himseIf a classicist stating his aim was to create:
"The art of concealing art, maximum effect but with minimum means".
It is from this approach to his style of work that Philip Glass and Steve Reich hailed him as the originator of the concept of minimalism. However Moondog had his own opinion on the matter:
"Bach was doing minimal in his fugues. So what´s new?"
In 1974 be was offered a chance to play in Europe for a few months which as it turned out led him to relocating to Recklinghausen to live until his death. The suddenness of his departure led many to believe that be had died, at one even Paul Simon mourned his passing on his tv-show.
Of course Moondog hadn´t died in fact his so-called exile in Germany would lead to his most prolific period of his career. He met Ilona Goebel a music translator who gave up her job to work full time with Hardin putting onto paper what rnusic that was in his head, she eventually became his manager.
Moondog did however return to America in 1989. At the invitation of the New Music American Festival in Brooklyn, he shared the stage with Glass and Reich asked to conduct as part of the celebration of legends from the 40´s and 50´s. His conducting manner was unorthodox to say the least, taking his place at the side to play percussion. He later commented that:
"I see my relationship with them [orchestra] as being first among equals, so that there are forty conductors, each in charge of his own part."
This return to the Big Apple marked a newly rediscovered interest in his work seeing it performed all over the world in some of the greatest settings, some of his work was even choreographed.
For the first time in the U.K. the official releases of "Sax Pax for a sax", "A new sound for an old instrument", "Elpmas" and "Moondog In Europe".
"A new sound for an old instrument" is a series of thirteen short pieces concentrating on the use of the organ. At times delightfully breezy especially on "Mirage". However the furious calling that spreads through "Barn Dance" has a charm of its own.
"Elpmas" explores the sounds of swing and jazz, conceived as a protest song against the treatment of aborigines. It´s here that you hear the percussive rythms that have stayed with Moondog since his encounter with Chief Yellow Calf Suprisingly the work is punctuated by a vocal section on the opening suite.
"Moondog in Europe". Some may recognise the opening piece as being similar to the "Sugar Plum Fairy". Overall the work has a menacing viking feel to it, the coming of the boats "Heimdall Fanfare" and the mournfull violins with Romance in g.
"Sax Pax for the Sax." Of all the releases Sax Pax is probably the most immediately accessible. Featuring the London Saxophonic, Sax Pax is a tribute to the maker of the saxophone Antoine Joseph Sax celebrating the centennial of his death. The work features Peter Hamill on the chorus and Danny Thompson on the contra bass. The swing style sax´s on Paris are breath taking. "Bird´s Lament" features here, dedicated to the memory of Charlie Parker, while New Arnsterdam is Moondog´s love song for New York. "EEC Lied" has similarities to Grand Old Duke of York.
All available on the Kopf Label.