Glorious Victory is an animated short film about two beetles fighting over a fig fruit which leads both of the beetles to complete disaster. Will Kim uses watercolor to tell a story of ambition, greed, and selfishness with an original soundtrack composed and performed by Tatenori Hamasaka.
Will Kim is a Los Angeles based artist and filmmaker. Will is Associate Professor of Art at Riverside City College where he also directs Riverside City College Animation Showcase. Will Kim received an MFA ('09) in Animation from UCLA and a BFA ('07) in Character Animation from Cal Arts. In recent years, he also taught at CalArts, Community Arts Partnership and Sitka Fine Arts Camp as a media art instructor. Kim’s work has showed in over 100 international film/animation festivals and auditoriums including Directors Guild of America (DGA) Theater, Academy of TV Arts and Sciences Theater, The Getty Center, The USC Arts and Humanities Initiative, and Museum of Photographic Arts San Diego. As an animation supervisor and a lead animator, Will has participated in various feature and short live action films that were selected for the New York Times' Critic's Pick, the United Nations' Climate Change Conference, Los Angeles Film Festival, Tribeca Film Festival, and Cannes. Also, Will has painted and animated for companies like 'Adidas' and 'Ito En.'
Perception (USA / 2'13")
dir. Minu Park
The project, Perception came out while I was wondering around the Subjectivity in cinema. Subjectivity, the first point of view, a directing technique that can show a character’s emotional status, is a term where many young filmmakers do not understand. A film is all about emotion. It’s not about fancy dolly movement, nor amazing monologue of the character. The emotion is the key point, where audience would remember the specific moment of your works.
Minu Park is a Korean filmmaker, who used to live in the USA as a student, now living as an artist, I have been constantly fighting myself to find my own identity. The memories of Korean life becomes blur and blur, yet, I can’t tell whether I became a complete American neither. Including my recent short film Yolk, Escape, and Into The Cave, I am still on a journey to find my own identity through film. In result I tend to create a character, who tries to find the answers through him/herself.
140 Characters (USA / 5"35')
dir. Dean Winkler, Dr. Maureen Nappi & Donald S. Butler
Our thesis is that the world we’re living in is not the one we were promised. Why did we get Twitter instead of intelligent media that enhances society? Why are we developing silly apps instead of hardware? All enabled by our so--‐called “smart phones” which trap us like the prisoners in Plato’s cave – detached from reality and unaware. We used this as a basis for creating abstract imagery, referencing everything from Aboriginal art to 1940s/1950s television to EDM /Rave visuals. Our goal being to take the viewer on a visual trip. Perhaps described as psychedelic, synthenisa, visual music – the point is to allow the viewers to derive their own meaning as they travel through the flow of images. Key to the creation of the work was the use of digital simulation of classical analog video synthesizer technology.
This allowed for real--time image processing performances to be captured and used as layering elements. The result is in the style of our mentor, video artist Nam June Paik. This project was created purely as a non--profit artistic endeavor with no external funding and no consideration of commercial potential. It is dedicated to Steve Rutt and Bill Etra, the two pioneering designers of scan manipulation analog video synthesizers.
Dean Winkler is a film/television engineer and video artist. An early adopter of analog video synthesizers, he’s built video editing hardware, post production facilities and immersive environments. He holds a United States patent on analog-‐to-‐digital conversion technology. Winkler has collaborated on numerous video art projects including: “Tempest” (1980) with Vibeke Sorensen and Tom DeWitt, “Act III” (1983) with John Sanborn and Philip Glass, “Good Morning Mr. Orwell” (1984) with Nam June Paik, “Perfect Lives” (1984) with Robert Ashley, “Luminaire” (1986) with John Sanborn and Donald S. Butler, “Continuum” (1990) with Maureen Nappi, “Race Up Race Down” (2015) and others. In 2009 he founded WCI, which is “dedicated to the art and engineering of moving images.” WCI produced “Race Up Race Down” and “140 Characters.” More info: www.wci.nyc
Dr. Maureen Nappi is an artist and educator who works in advanced technology creating still and moving imagery. Her work has been exhibited and published internationally at: MoMA, IBM Gallery of Science and Art, Whitney Museum of American Art, Franklin Institute Science Museum, Hiroshima Museum of Contemporary Art, London Film Festival, ISEA, and ACM/Siggraph Art Exhibitions. Nappi received her Ph.D. in Critical Studies from New York University as an American Association of University Women (AAUW) Doctoral Fellow. Dr. Nappi is the head of Media Studies and a professor of Media Studies + CGI at Long Island University in Brooklyn. More info: http://www.romefilmschool.org/maureen-‐nappi/
Donald S. Butler is a painter, computer animator and video artist. His career spans stage, screen and print. An early pioneer in the use of computer animation, he began his “Aloi” studies of robot animations in 1986. He has worked as a digital animator and digital compositor across the world including at Post Perfect in New York City and Industrial Light and Magic in California, where he contributed to major television and motion picture productions. Butler resides in Melbourne, Australia.
The Luring (New Zealand / 11"59')
dir. Alex Plumb
Winner of Best Experimental Film at the Auckland International Film Festival 2017, The Luring is a visually-driven, psychological snapshot into the lives of three different people and what they desire. Set in a seemingly familiar yet dystopian present, the film reveals how simultaneously connected and isolated they all are through the great spectacle that is modern life.
A young man being interviewed, a woman on the phone in her apartment and a daydream-like journey through someone's special place the film depicts these three people who exist in their own spaces, where they each experience and talk about their desires and isolation through themselves, their worlds, and the worlds outside.
Alex Plumb is an image-maker, who continuously strive to reposition the way we look at our everyeday world through a heightened sense of dislocation and wonder. Whether working in film, fashion theatre, advertising or the visual arts, I’m interested in the possibilities of narrative spaces that are quasi-cinematic, quasi-theatrical, quasi-fantastical in nature. By working in between real and imagined spaces and combining different visual disciplines, a playful ambiguity is offered by my narratives, one that is visually striking but that also dares to scratch beneath the surface.
Noonside (USA,Korea / 2"59')
dir. Yaeji Lee
“Noonside” is about waiting in line at border patrol. On the song, she’s aided by a very minimal set of tools: There’s often just a slippery synth line, quiet drums, and then slight but ominous vocal processing. The messages are not necessarily clear on a first listen; as Lee quickly repeats her phrases, it’s hard to grab onto her words. The effect, though, is undeniably catchy. She hammers away at elliptical, enigmatic phrases until they are lodged in your brain. But then again, some of her songs only gain extra weight once you’ve gleaned a lyric sheet; whatever feeling of seriousness they are supposed to connote can be lost in the shuffle.
Kathy Lee, who records and d.j.’s as Yaeji, litters her sets with hints at her interests: the wailing sirens of U.K. rave, the deep kicks of New York house, and, occasionally, the stringed flourishes of traditional Korean folk. “I’m into it all,” she has offered, as a biography of sorts. But her own songs beguile with their singular focus, as on her self-titled EP of whispery, slow-blooming dance tunes.