For Norman McLaren form is everything. That makes sense given the medium he chose to express his art. Short films are, perhaps more than any other expression of film, succinct and to the point. The story is in the form, the vision is in the form, the art is in the form. To that end many directors have spent many years trying their best to manipulate the form. Film is malleable after all, that is the most breathtaking aspect of the medium. To see something so straightforward taken and twisted until it meets the vision of the artist is akin to the definition of art.
That is where Norman McLaren enters the picture. He was a master at taking the form of the short film and twisting and turning it until it fit his vision of art. Take a film like Dots for instance. A simple red animated landscape is...
That is where Norman McLaren enters the picture. He was a master at taking the form of the short film and twisting and turning it until it fit his vision of art. Take a film like Dots for instance. A simple red animated landscape is...
- 4/4/2015
- by Bill Thompson
- SoundOnSight
Electronica can be a debilitating enterprise over time. The genre, at its best, sprinkles diverse, intricately detailed elements among urgent beats that demand body movement; however, as their careers progress, many electronic artists obsess with nuance, sacrificing the taut, compelling thrills that drive the form. The end result tends to be slick, emotion-devoid trance music. While still sporting moments of buoyancy and cheer, Junior Boys’ Begone Dull Care—named after a collaboration between animator Norman McLaren and jazz pianist Oscar Peterson—is hypnotically fascinated with subtlety, lacking the duo’s previous vigor. Generally hurting for variety, the record still has ...
- 4/14/2009
- avclub.com
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