Car­toons on the Bay

Animation Magazine - - Spotlight -

Pro­ceed­ings were no­tice­ably more in­ti­mate at the 18th Car­toons on the Bay, a fes­ti­val and pro­fes­sional pro­gram held April 16-18 in Venice.

Is­rael was the guest coun­try, cho­sen be­cause it is tech­no­log­i­cally ad­vanced and is home to a large num­ber of tech star­tups and in­no­va­tors, said Costanza Es­caplon, pres­i­dent of RAI Com. In ad­di­tion to honor­ing Al­bert Hanan Kamin­ski with a Pul­cinella Ca­reer Award, a panel ex­plored the na­tion’s an­i­mated works with di­rec­tor Li­ran Kapel, Talit Com­mu­ni­ca­tions’ Ron Isaak, An­imix Fes­ti­val’s Dudu Shalita, di­rec­tor Yu­val Nathan, Snow­ball Stu­dios’ Yoni Co­hen and Is­raeli diplo­mat Eldad Golan.

A panel on women in an­i­ma­tion fea­tured Lind­say Wat­son of An­i­mated Women U.K.

say­ing there are an es­ti­mated 5,000 women in the U.K. work­ing in an­i­ma­tion or vis­ual ef­fects.

Mad En­ter­tain­ment pre­sented its pro­ject Cin­derella the Cat: A Mafia Fairy­tale and stated it sees a strong au­di­ence for an­i­ma­tion aimed at young adults.

The Fash­ion­able World of Vic­to­ria and Luisa won the Pitch Me! con­test for pi­lot episode.

And a spotlight on the an­i­ma­tion in­dus­try in Italy re­vealed the na­tion has 81 pro­duc­tion com­pa­nies, most of which work in tele­vi­sion, with 36 pro­duc­ers and 45 ser­vice providers. Of those, 44 per­cent had less than 250,000 eu­ros in rev­enue.

At the same time, Italy has 22 chil­dren’s chan­nels — the high­est count in Europe — and 11 per­cent of their pro­gram­ming is from Italy. The dis­cus­sion on how to rec­tify the sit­u­a­tion grew po­lit­i­cal, with the pre­sen­ters com­par­ing the 16 mil­lion euro state con­tri­bu­tion in Italy to 96 mil­lion eu­ros from France. It was pro­posed that Italy could make more an­i­ma­tion than France does with less money, and once the talk turned to the ques­tion of whether the event or­ga­nizer RAI had too much of a mo­nop­oly sit­u­a­tion, the English trans­la­tion for press cut out mys­te­ri­ously ...

Mean­while, the win­ners of the Pul­cinella Awards, with jury com­ments, are:

Preschool TV se­ries: (Ami­gos), for help­ing kids to open their minds and face oth­ers, re­spect­ing their own emo­tions. TV Se­ries for Kids: The Owl & Co. (La Chou­ette & Cie), a sim­ple story able to sur­prise kids and fam­i­lies with funny char­ac­ters, good an­i­ma­tion and es­sen­tial di­a­logue. TV Se­ries for Tweens: Gypsy Tales (Cigánymesék), for bring­ing new life to tra­di­tional tales, bal­anc­ing tra­di­tional an­i­ma­tion and new tech­nol­ogy. In­ter­ac­tive An­i­ma­tion: Evolve, for us­ing an­i­ma­tion to give a great vis­ual im­pact and make fan­tasy come true. Ed­u­ca­tional and So­cial: Bro­ken Branches (Anafim Shvurim), to let old mem­o­ries of Di­as­pora come alive again, telling a true and dif­fi­cult story in a very touch­ing way. TV Se­ries Pi­lot: Ivan and the Wolf (Iwan und der Wolf), for us­ing col­ors in an in­tense way that gives a fan­tas­tic di­men­sion from the very be­gin­ning of the story. Advertising and Pro­mo­tional: Clean Up the World (Pu­liamo Il Mondo), for pro­mot­ing an eco­log­i­cal ap­proach through an orig­i­nal mix of doc­u­men­tary and an­i­ma­tion, even with a low bud­get. Short Film: Au­tumn Leaves (Premier Au­tomne). This poetic film is a com­plete cre­ation in both vi­su­als and sound. Best Euro­pean Work: The Day Henry Met (TV Se­ries Preschool). A fresh de­sign for this ed­uca­tive film, but still very en­ter­tain­ing. Best Char­ac­ter: Tereza from Boles (Short Film). For the plas­tic way the pup­pet was struc­tured for act­ing and how the an­i­ma­tor suc­ceeded in bring­ing it to life. Best Mu­sic: Gypsy Tales (Cigánymesék) (TV Se­ries Tween). The jury was won over by this tra­di­tional mu­sic that fits per­fectly into the rhythm of the show.

Pan­elists gather in the gor­geous and his­toric Sa­lon del Tiepolo at the Palazzo Labia in Venice for the pro­fes­sional pro­gram at the 18th edi­tion of Car­toons on the Bay.

Some of an­i­ma­tion’s top di­rec­tors ap­pear at FMX for a panel ti­tled “Di­rect­ing in an In­creas­ingly Com­plex Pro­duc­tion En­vi­ron­ment.”

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