Two Beautifully-Crafted Russian Animations of Chekhov’s Classic Children’s Story “Kashtanka”

Long before mas­ters of the short sto­ry like Ray­mond Carv­er and Flan­nery O’Connor com­mand­ed the respect of cre­ative writ­ing teach­ers every­where, Anton Chekhov’s spare, man­nered sto­ries set the stan­dard for the form. Known for their sub­tle­ty and keen obser­va­tions of human weak­ness and social ills, the typ­i­cal Chekhov sto­ry nev­er boils over into melo­dra­ma but sim­mers, slow­ly push­ing ten­sions close to the sur­face of rou­tine inter­ac­tions with­out let­ting them break through and explode.

The sto­ry ani­mat­ed above, how­ev­er, is some­thing of an excep­tion to Chekhov’s domes­tic human dra­mas. “Kash­tan­ka” is a about a dog, and a good bit of it is told from her per­spec­tive. First pub­lished in 1884 as “In Bad Times,” the sto­ry was alleged­ly inspired by Chekhov’s love of the cir­cus. Chekhov wrote the sto­ry for chil­dren, so it’s fit­ting that it receive this Dis­ney-esque treat­ment (the open­ing scene remind­ed me of Gep­pet­to’s work­shop).

Russ­ian poster design­er and children’s book illus­tra­tor Mikhail Tsekhanovsky made the film in 1952, when car­toons were painstak­ing­ly hand-drawn cel by cel. Anoth­er Russ­ian ani­ma­tor, Natalia Orlo­va, takes advan­tage of 21st cen­tu­ry tech­nol­o­gy in her 2004 ren­der­ing of “Kash­tan­ka” below, but she does so in a unique way that inte­grates hand-paint­ed images; the flick­er­ing stop-motion resem­bles children’s book illus­tra­tions come to life. Along with the excel­lent sound design, her cap­ti­vat­ing style makes for a very dif­fer­ent visu­al­iza­tion of the sto­ry.


Note: You will need to click CC at the bot­tom of the video to launch the sub­ti­tles.

via Bib­liok­lept

Relat­ed Con­tent:

18 Ani­ma­tions of Clas­sic Lit­er­ary Works: From Pla­to and Shake­speare, to Kaf­ka, Hem­ing­way and Gaiman

12 Ani­mat­ed Plays by William Shake­speare: Mac­beth, Oth­el­lo and Oth­er Great Tales Brought to Life

“The Me Bird” by Pablo Neru­da: An Ani­mat­ed Inter­pre­ta­tion

Three Inter­pre­ta­tions of Charles Bukowski’s Melan­choly Poem “Nir­vana”

Josh Jones is a writer and musi­cian based in Wash­ing­ton, DC. Fol­low him @jdmagness

Amazing Flipbook Animation Shows Off the Skills of Ronaldinho

Ronal­do de Assis Mor­eira, oth­er­wise sim­ply known as Ronald­in­ho, plays football/soccer for Atléti­co Mineiro and cur­rent­ly cap­tains the Brazil­ian nation­al team. And the artist ‘Etoilec1,’ whose real name remains obscure to us, cre­ates some amaz­ing flip­books, includ­ing this one that ani­mates Ronald­in­ho’s finest moments on the pitch. You can watch real high­lights of Ronald­in­ho’s foot­work here, and find more care­ful­ly wrought flip­books by Etoilec1 here.

via mefi

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Animations Revive Lost Interviews with David Foster Wallace, Jim Morrison & Dave Brubeck

David Ger­lach left a com­fort­able job work­ing as a TV pro­duc­er to launch Blank on Blank, a mul­ti­me­dia non­prof­it with a sim­ple mis­sion — to curate jour­nal­ists’ for­got­ten inter­views with cul­tur­al icons, and then bring them back to life again, some­times as ani­mat­ed shorts. You can start enjoy­ing the fruit of Blank on Blank’s labors by watch­ing a series of web ani­ma­tions, recent­ly pro­duced in col­lab­o­ra­tion with PBS Dig­i­tal Stu­dios. Above, we’re start­ing you off with a four-minute ani­ma­tion of David Fos­ter Wal­lace reflect­ing on his ear­ly ten­nis days, the per­ils of per­fec­tion­ism, and his ten­den­cy to be a “gram­mar nazi” when teach­ing col­lege stu­dents — some­thing we’ve cov­ered here before. The inter­view orig­i­nal­ly aired on WNY­C’s Leonard Lopate Show in 1996, and you can lis­ten to the con­ver­sa­tion in its entire­ty here.

Next comes some mem­o­rable moments with Jim Mor­ri­son, the great singer-song­writer, who met with Vil­lage Voice writer Howard Smith back in Novem­ber, 1969. Going into the meet­ing, Smith sensed that things would­n’t be easy. He lat­er recalled, “I had a feel­ing that it was going to be a tough inter­view. I just kin­da had a feel­ing that … it was going to be tricky, and I said .… if things get real­ly dif­fi­cult with him, I’m gonna sug­gest that we arm wres­tle.” As you’ll hear, Smith made his great arm-wrestling escape an inevitabil­i­ty when he nee­dled Mor­ri­son, sug­gest­ing that the singer had put on too much weight. You can see how things played out above, or catch the com­plete inter­view here.

Blank on Blank has pro­duced oth­er ani­mat­ed inter­views with Bono, Lar­ry King, and surfer Kel­ly Slater. But we’re going to wind things down with Dave Brubeck recall­ing how Pres­i­dent Eisen­how­er sent him to East­ern Europe to fight Com­mu­nism with Jazz. Brubeck relat­ed this sto­ry at the Litch­field Jazz Fes­ti­val in 2008.

If you’re look­ing to rum­mage through a big archive of lost inter­views, I’d encour­age you to spend time with the Blank on Blank pod­cast avail­able on iTunes and rss.

Relat­ed Con­tent:

The Nazis’ 10 Con­trol-Freak Rules for Jazz Per­form­ers: A Strange List from World War II

Pak­istani Musi­cians Play Amaz­ing Ver­sion of Dave Brubeck’s Jazz Clas­sic, “Take Five”

David Fos­ter Wallace’s 1994 Syl­labus: How to Teach Seri­ous Lit­er­a­ture with Light­weight Books

An Uplift­ing Musi­cal Sur­prise for Dave Brubeck in Moscow (1997)

CERN Physicist Explains the Origins of the Universe for Beginners with a Short Animated Video

If you have kids, you’re going to get the inevitable ques­tion: Where did the uni­verse come from? And you’re like­ly going to take a long pause before try­ing to present the sci­ence of the big bang. Before you head down that path, know this: CERN physi­cist Tom Whyn­tie has cre­at­ed a new TED-ED video that explains, in three ani­mat­ed min­utes, how the uni­verse began, why it’s expand­ing, and oth­er basic phe­nom­e­na that con­cern cos­mol­o­gists and par­ti­cle physi­cists. Phew. By the time you’re done, you might be eager­ly await­ing a where-do-babies-come-from video. That’s hope­ful­ly some­where in TED-ED’s media pipeline too.

Relat­ed Con­tent:

200 Free Kids Edu­ca­tion­al Resources: Video Lessons, Apps, Books, Web­sites & More

Grow­ing Up in the Uni­verse: Richard Dawkins Presents Cap­ti­vat­ing Sci­ence Lec­tures for Kids (1991)

The Sto­ry Of Men­stru­a­tion: Walt Disney’s Sex Ed Film from 1946

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The Film Before the Film: An Introduction to the History of Title Sequences in 10 Minutes

Some watch the Super Bowl for just the com­mer­cials. Oth­ers watch films for the title sequences that book­end a movie. Title sequences can be “engag­ing or wild­ly enter­tain­ing … or sim­ply drop dead beau­ti­ful.” They can “ooze with visu­al poet­ry and sophis­ti­cat­ed imagery,” or they can put the audi­ence in the right mood for the movie, or close it in the right way, writes the web site For­get the Films, Watch the Titles.

But it has­n’t always been this way. Dur­ing the ear­ly days of cin­e­ma, title sequences were often crude and infor­ma­tion­al. That start­ed to change with the advent of sound film, when title sequences took on aes­thet­ic dimen­sions they had­n’t known before. By the 1950s and 1960s, they became a high art form, espe­cial­ly in the hands of the icon­ic graph­ic design­er Saul Bass. The his­to­ry, phi­los­o­phy and aes­thet­ics of the title sequence — espe­cial­ly the open­ing cred­its — all get cov­ered by The Film Before the Film, a short, infor­ma­tive film born out of a research project at the Berlin­er Tech­nis­che Kun­sthochschule. It runs 9 to 11 min­utes, depend­ing on whether you count the clos­ing title sequence!

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60 Second Adventures in Astronomy Explains the Big Bang, Relativity & More with Fun Animation

Like many pos­i­tive terms, the phrase “big bang” orig­i­nat­ed as a pejo­ra­tive. Fred Hoyle coined the term in 1949 as a way of deflat­ing the con­cept of an expand­ing uni­verse. It stuck, even after Edwin Hub­ble showed that 13.7 bil­lion years ago, all of the mat­ter in our mas­sive uni­verse was indeed com­pact­ed into “one super­dense ball.” Astronomers have also fig­ured out that the vol­ume of the big bang was only 120 deci­bels, about the loud­ness of your aver­age rock show (though how there might have been sound with­out an atmos­phere escapes me). There is some irony in Hoyle’s dig: the “big bang” wasn’t par­tic­u­lar­ly big, and wasn’t much of a bang, but it hap­pened.

We learn all this and more in the video above from The Open Uni­ver­si­ty, and all with­in a minute, as the title of the series, 60 Sec­ond Adven­tures in Astron­o­mypromis­es. These amus­ing ani­ma­tions are very much like oth­er OU series we’ve fea­tured in the past: 60 Sec­ond Adven­tures in Eco­nom­ics60-Sec­ond Adven­tures in Eco­nom­ics: and 60 Sec­ond Adven­tures in Thought. (Find them all on iTune­sU here.)

The uni­ver­si­ty describes the new astron­o­my series like this:

Ever won­dered where the Uni­verse came from? Or more impor­tant­ly, where it’s head­ed? Voiced by David Mitchell, this series of twelve 60 sec­ond ani­ma­tions exam­ines dif­fer­ent sci­en­tif­ic con­cepts from the big bang to rel­a­tiv­i­ty, from black holes to dark mat­ter. The series also explores the pos­si­bil­i­ty of life beyond Earth and con­sid­ers why David Bowie is still none the wis­er about life on Mars.

Spend a few extra min­utes edu­cat­ing your­self with some more 60 sec­ond astron­o­my adven­tures below, or vis­it the com­plete col­lec­tion here on YouTube or iTune­sU.

Super­novae

Exo­plan­ets

Spe­cial Rel­a­tiv­i­ty

Event Hori­zons

Life on Mars

Relat­ed Con­tent:

Neil deGrasse Tyson Answers the Big Enchi­la­da Ques­tion, “Does the Uni­verse Have a Pur­pose?”

Mea­sur­ing the Uni­verse: How Astronomers Learned to Mea­sure Celes­tial Dis­tances Explained with Ani­ma­tion

The Hig­gs Boson, AKA the God Par­ti­cle, Explained with Ani­ma­tion

Demys­ti­fy­ing the Hig­gs Boson with Leonard Susskind, the Father of String The­o­ry

Clever Animation Brings Figure Drawings to Life

The cre­ative team of Tom Wrig­glesworth & Matt Robin­son went to an art class at The Book Club in Lon­don, and there cre­at­ed an ani­ma­tion that breathes life into a series of fig­ure draw­ings. Every easel in the class cap­tured a nude mod­el from a dif­fer­ent angle. The film then gath­ered them all togeth­er, pro­duc­ing one won­der­ful­ly ani­mat­ed com­pos­ite fig­ure. Pret­ty neat stuff. If you’re in Lon­don, you can check out the next Life Draw­ing class on April 6.

via Laugh­ing Squid

Relat­ed Con­tent:

James Joyce’s Draw­ing of Leopold Bloom: The Sto­ry Behind the Sketch

Wass­i­ly Kandin­sky Caught in the Act of Cre­ation, 1926

Famous Lit­er­ary Char­ac­ters Visu­al­ized with Police Com­pos­ite Sketch Soft­ware

Oxford’s “The Ele­ments of Draw­ing” in our Col­lec­tion of 700 Free Online Cours­es

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Drones Over America!: Two Animated Satires of Misguided American Policy

Drones over Amer­i­ca –they’re a high tech assault on Amer­i­can con­sti­tu­tion­al rights, and they deserve to be met with a mod­ern form of dis­sent, some­thing more than a cranky op-ed in the pages of The New York Times. In this case, ani­mat­ed satire feels just about right. Enter Drew Christie, who cre­at­ed a satir­i­cal “Op-Doc” for the Times that mocks plans to use drones to police Amer­i­ca. Christie hails from Seat­tle, whose police force recent­ly announced it would adopt an aer­i­al drone pro­gram. When the plan was lat­er scut­tled, K.G.B. agents every­where were very upset. Who could blame them, see­ing that we were so close to achiev­ing our brave new world?

If Mr. K.G.B. feels a lit­tle too severe, then why not have a lit­tle fun with Mr. Blasty? He’s adorable, a bar­rel of laughs, but he pulls no punch­es. “While you’re all sud­den­ly won­der­ing about me and my drone friends blow­ing you to bits in Bowl­ing Green, I’ve been busy abroad for years killing thou­sands!…” “Don’t wor­ry, they’re usu­al­ly just for­eign­ers though. But whether they’re for­eign­ers or cit­i­zens– first comes fire­pow­er [blam], then comes legalese! And if the legalese does­n’t work, there’s always “state secrets” where nobody knows noth­in’–.” The more the admin­is­tra­tions the change, the more they stay the same.

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