Clément Morge is a 23 year-old filmmaker and VFX artist. He studied at Luc Besson’s film school, “L’Ecole de la Cité” in Paris at the age of 19. After the completion of his studies, he worked on multiple feature films as an intern, some of which are “Lucy”, “Malavita” (also called “The Family”), or “Three Days To Kill”, where he grasped the foundations of filmmaking by working alongside several professionals from the industry. Clément then decided to learn more about Visual Effects at the Vancouver Film School where he studied for a year.
When he returned to France, he worked at Mikros Images Paris for a while, taking on the responsibilities of Layout and Matchmover artist. The opportunity to work on Besson’s following movie “Valerian and the City of a Thousand Planets” – a space opera – came up during this time, for which he was the Visual Effects Witness Cameraman. Based on this project, Christopher Nolan asked Clément to assist the visual effects team working on “Dunkirk”, his then latest film.
In late 2016, Clément worked on the production part of “Valerian” as a Matchmover artist again. He returned to his very first love: filmmaking. He is currently working on the post-production for the next fantastic short “Richard Pastel’s Misadventure”.
Title: The Powerful Potential of Believing in Yourself and not Giving Up
God knows how hard it is to get settled in the film industry, or simply as a freelance artist.
What are the different processes that will get you there ?
What can be the solutions when you are coming from a small, discrete, and underrated area?
How to create opportunities?
Is it so much a matter of “where you are coming from” and to what extent?
As a young director-wannabe from the countryside of France, those are the many questions I asked myself when I knew I wanted to be part of the making of tomorrow’s cinema.
Charalambos Margaritis was born in 1985 in Cyprus.
He graduated from the National Superior Fine Arts School of Paris (ENSBA) in 2012. His work is centered around printmaking, animated films, drawing and painting. In 2010 he studied the traditional icon painting techniques with the monk Paisios Agrapides in the Cell of Saint Archangels in Karyes of Mount Athos, where he resided for three months.
He taught drawing and animated film techniques to children from 8 to 15 years old on three occasions: firstly, during 2011 and 2012, as a part of the creative writing workshops of La Cité des Mots, organized by the writer Catherine Zoungrana in Paris. Then, on December 2013, in the Centre Pompidou, during the event Stopmotion. Finally, for the post-diploma program “AIMS” (Artiste Intervenant en Milieu Scolaire) of the Fine Arts Schools of Paris, that takes place in Saint Ouen (suburb of Paris). He also taught drawing in HEC (Haute Ecole de Commerce) for the year 2014 – 2015. In 2013 he worked as a member of the admissions jury for the entrance examinations of the Fine Arts School of Paris.
He participated in several exhibitions in France, as the event Graver Maintenant in Reuil Malmaison in 2009, the second edition of the International Drawing Fair (FID) in Paris in 2010, the exhibition Nulla Dies Sine Linea in the library of the Ecole Normale Supérieure of Paris in 2011, the Salon of Poissy in Paris in 2013 and in all the Sarcelles’ Engraving Biennales since 2009.
In Cyprus he participated, in December of 2013, in the exhibition Othellos – Rebirth that took place in the Othellos cinema theater, part of the European Capital of Culture of Paphos. In October 2014 he worked with the classical music ensemble Trio Dell’Arte, creating three animated shorts for three of their concerts in Nicosia, Limassol and Paphos. In April 2015 he participated in the Street Art Square Festival.
His 2012 short animated film, Workhouse, was selected and presented in several festivals in Cyprus and abroad, as the London Greek Film Festival, the International Motion Festival in Nicosia, the Con Film Festival in Philadepheia, the Los Angeles Cine Fest and others. At the same time, he has created (alone and in collaboration with others) video clips for several musicians in Greece and in France, such as the group Active Member, Yiorgos Zambetas, the group Pulcinella, Ian Balzan and others.
He is a member of the artistic collective Miracle, that is based in Paris but collaborates with a lot of artists (visual artists, poets, writers, philosophers and others) in many countries, such as Benin, Hungary and England.
Title: Action and interaction – The history of animated sequences combined with live action film
While virtual reality is becoming a central element of contemporary life, the lines between what is virtual and what is actually real are becoming more and more blurry. The recent frenzy about Pokemon Go is a characteristic example.
One would have to trace the idea of the intrusion of the virtual -which could be lazily qualified as the “fake”- to the real back to its origins.
The presentation begins with an introduction to the history of animated film. A historical overview of the evolution of the concept of interaction is followed by a critical and philosophical analysis of the idea of the animated character coming to life. More or less obvious parallels are examined in a comparative study of the idea of things coming to life in theater, literature, mythology, religions and theology.
Using as a point of entry the animated film and its history, the presentation goes back and forth, from ancient texts and beliefs to the contemporary world of virtual reality.
As a conclusion, a thesis is proposed, according to which the animated figure, by coming to life and intruding the live action world, sets in motion a questioning of the nature of reality in multiple levels:
- Is its own universe (the cinematic one) real?
- Is what one perceives as reality in life actually real?
- Are the images more real than one expected them to be?
- If having a direct consequence in reality is a presupposition for a person’s, an object’s or an event’s reality, doesn’t it mean that images are not as harmless as one would believe them to be?
Dr Costas Constandinides is Assistant Professor of Film and Digital Media Studies in the Department of Communications at the University of Nicosia. He is the author of From Film Adaptation to Post-celluloid Adaptation (Continuum, 2010; Bloomsbury, 2012) and co-editor of Cypriot Cinemas: Memory, Conflict and Identity in the Margins of Europe (Bloomsbury, 2014). He is a member of the European Film Academy, the Artistic Committee of Cyprus Film Days IFF and an honorary member of the Cinema Advisory Committee (Ministry of Education and Culture).
Title: Expanding Worlds come in Small Packages: Journeys of the Fantastic in Cypriot Short Films.
When I first developed an interest in the short film medium, it quickly became evident that apart from book-long “how to” guides, there has been little scholarly literature on the short film as it is ‘defined’ today by short film fests, state film policies and leading short film theorist Richard Raskin. Hence, this paper/presentation aims to explore this relatively ignored area of study (namely Short Film Studies ), and to discuss the establishment and growth of this form in Cyprus with a particular focus on films that fall under the broader categories of paracinema or cinema of the fantastic. Locally produced shorts enjoy considerable attention as various short film screening events are organised annually in Cyprus (e.g. The International Short Film Festival of Cyprus, Cyprus Comic Con, International Motion Festival Cyprus, and the recently founded Paphos International Film festival among others; the first edition of the London-based Cyprus Short Film Day will take place in 2017). Interestingly, state-funded shorts, which had a somewhat successful festival journey and can be considered key in the development of the form in Cyprus, are predominantly exploring elements associated with the fantastic (e.g. Pharmakon  and Oedipus  by Ioakim Mylonas and Styx  by Alexia Roider). In addition, indie shorts directed by filmmaker and head of film at Cyprus Comic Con Andreas Kyriacou (aka Splash) such as Whispers (2013) are directly or otherwise linked to the development of the so-called ‘Geek Culture’ in Cyprus. Thus, this study also aims to examine the various levels of engagement that these films may invite, be it political, paratextual, intertextual or transmedial.
Edyta Masior is an artist and academic teacher currently working at the Faculty of Intermedia at the Jan Matejko Academy of Fine Arts in Cracow, Poland.
Edyta received an MA in Digital Arts (Postgraduate Programme Studies) from the Athens School of Fine Arts. She then received her PhD in Intermedia at the Academy of Fine Arts in Cracow, where she still works. She also holds a Master of Arts from the Faculty of Arts at the Pedagogical University of Cracow, whilst being the first student to receive the Erasmus/Socrates scholarship to study at the University of Crete. Her research addresses the media translocations in the definitions of modern art transformations.
Edyta has also received fellowships from the Alexander S. Onassis Foundation, the State Scholarships Foundation (IKY Greece), Erasmus/Socrates program, and the Polish academic scholarships.
She has had solo and group exhibitions of her work both in Poland and abroad, with upcoming participation in events in Germany and the UK. In addition, she is the author of: Impertinent Wandering (2002), Unsealed Dream (2009), Maria (2009), Balloon, Thread and Three People (2008-2010), “Like a Bird Alone on a Rood” (2006-2009) among others.
Title: My Silent Balloons II interactive installation
The work relates to the topic of the balloon in the arts, towards play and game meanings, and expressed by way of interactive installation as derived from media-based work methods and tools where sound becomes color and color becomes sound.
An object – as balloon it is not only a symbol of transition, of the temporary nature of things, but also and above all a matter of its creation.
It is a creative work study case.
Kosovo – Kokrra, University of Prishtina
Leart is the Founder and Creative Director of Kokrra as well as teaching assistant of Graphic Design at the University of Prishtina.
After a mixture of studies in graphic design, fine arts and visual effects, he started a game design startup which ceased to continue in 2014 when Kokrra was founded.
He and Kokrra have exhibited at ARS Electronica Festival, Ecole Nationale Superieure des Beaux Arts, featured in Motion Graphics book by Sendpoints, Maxon Galleries, Motion Graphics Served and appreciated by TED. Further on, the VJ content for Sevdaliza has toured the over twenty states with the “Children of Silk Tour”.
He keeps lectures at the Innovation Centre Kosova on motion graphics.
Title: Getting a little physical
As designers we try to connect with our audience through the concepts we create. However with the ever dropping interest span of viewers towards flat digital media, we have to find ways of reconnecting with them through more provoking solutions.
Using the influence of real world-interactive objects to create motion design, and its ease of production gave us a whole new playground to augment our ideas from screen to physical contact in the project we’ve done for DOKU:TECH.
The talk will float around this project and how our team sees motion design as a broader field of experiments revolving around the concept rather than media, while sharing our experience on its implementation.
Link to case study: Reflect – DOKU:TECH2016
Maria-Paraskevi Mastoraki is an Art Historian with an MA in Design (Akto College and Middlesex University, London). Maria-Paraskevi has worked at Athens Biennale “OMONOIA” Synapse 2 as a member of the group “Avtonomi Akadimia”. Her main responsibilities were translation, photo coverage, and social media management.
In addition, she has worked as an assistant curator at the Athens School of Fine Arts, curating the graduate students’ exhibition in 2016, and also acted as the assistant curator during the “70 Years of Greek Animation” organised by ASIFA HELLAS, where she gathered the artworks’ editorial texts, gave exhibition tours and assisted during kids’ workshops.
Maria-Paraskevi also attended various seminars and conferences on various subjects. Firstly, she attended “Museology” in Dephi Archaeological Museum, organised by the National Kapodistrian University, Athens. She also participated in the 8th Tsakonian Conference “Museum Design of Tsakonian Folk Art,” held by Tsakonian Archives.
Title: Folk culture and Animation: Influences and safeguarding of oral traditions
People, who grew up at the 90s, watched dynamic comeback by Walt Disney Company. Many of us adored the Disney classics, animation and tales. As we all know, many of those movies were based on folk fairy tales from Europe and other regions.
Later, I noticed that folk fairy tales have inspire many animators in abroad. For instance, Lotte Reigniger had created a great amount of short films which mainly based on Grimm Brother’s fairy tales or other folk stories.
Another case is Soviet Animation. Soviet Animation offers a wide range of subjects of study. One aspect of it is the research of cultural identity, through the art of animation. Artists as Yuri Nostrein show this effect on his film aesthetics.
On the contrary, in Greek animation there are only two films that their main inspiration was traditional art and tales. The first one is “Kolibitis” (1985) by Stratos Stasinos and Nasos Mirmiridis. The second one is the “Twelve days”(1999) by Christoforos Sotirakos.
Animation is a diverse, audiovisual field and also a communication medium. Thus, animation it would be the appropriate form to “transmit” Greek oral traditions to next generations.
co-founded Landjugend in Berlin
Markus Feder is a freelance art director and animator working in various fields, including broadcast design, commercials and exhibition design. Markus does concept and look development, art direction, animation and compositing. The tools he primarily uses are Photoshop, Cinema 4D and After Effects.
Markus studied Media Design at the Georg-Simon-Ohm University, Nuremberg, graduating in 2008. During and after his studied, Markus worked with No-Domain in Barcelona. Following that, he co-founded Landjugend in Berlin and started to make experimental videos and short films which received international acclaim. He had a quite satisfying and rewarding experience teaching animation at the Ulm University of Applied Sciences in Germany (2011-2013). Following teaching, Markus decided to move to Toronto in 2014 where he had the privilege to work in some of the best and most talented local studios.
Since 2015 he is based in the beautiful city of Munich in southern Germany.
His inspiration was triggered a couple of years ago when he came across a video-clip titled “Why abstract animation matters.” Since then, the title kept spinning in his mind and was then determined to develop a paper/presentation offering a definition of the term, as well as to explore the origins and specific qualities of Abstract Animation whilst showcasing the different areas of its application.
Title: Why abstract animation matters
As a Motion Designer, dealing with stress is an everyday procedure. In fact, “Thriving under pressure and meeting deadlines” is a phrase that can be applied to almost every job posting. It is very a very common issue that modern-day employees have to face, and Markus believes that all designers get more than their fair share. It was not part of his curriculum at the Design School he went to but believes it is vital to stay healthy and have a long, successful career despite that.
In his presentation, Markus aims to talk about basic methods used to deal with stress and their origins. Such methods can be applied to any profession, so Markus is going to focus on the specific causes of stress for a Motion Designer and the ways in which it can be minimised.
Poppy Aristidou – talk
Poppy Aristidou (b. 1978, Nicosia – Cyprus), is an Applied Multimedia lecturer –Department of Design & Multimedia at the University of Nicosia (2003-present day). She teaches courses in storyboarding, 2d animation, interaction design and special effects.
She holds an HND Degree in Graphic & Advertising Design from Frederick Institute of Art & Design (Cyprus), a BA Degree in Graphic Design, from the University of West of England (UWE Bristol, UK), and an MA Degree in Interactive Multimedia from Bath Spa University College (Bath School of Art and Design, Bath, UK).
Her main interests/specialisations and research areas are: interaction design, visual storytelling, 2d animation, animation techniques, motion graphics and virtual reality (VR) environments.
Aside from her teaching responsibilities, she has been involved in various exhibitions, research collaborations (most recently in virtual reality motion tracking in VR ), has led applied multimedia workshops within various education sectors and directed art projects. Additionally, she has worked in start-up mentoring and is a core member in organizing international conferences; TEDX, University of Nicosia based in Cyprus, Comic Convention in Malta representing Cyprus, and mostly contributing to the society by creating promotional graphic work for various awareness campaigns, such as Run In Colour 5k Marathon supporting children with cancer.
Nektarios Rodosthenous (b. 1986, Nicosia – Cyprus) started his musical studies in 2005. He studied musicology and music composition and currently holds a BA (Hons) Music and a MMus Composition from the University of Leeds. He received his PhD in music composition from the University of York January 2016 under the supervision of Prof. Ambrose Field (Head of Music Department). Nektarios composed for the National Theatre of Cyprus, no_body dance festival (DanceHouse, Cyprus 2014 & 2015), Moving Silence (Berlin 2014 & 2015), μikrό Festival of Ancient Drama (May 2016) and Festival of Ancient Greek Drama (July 2015). He is the Artistic Director of the international ensemble ‘o/f [or]’ (with members from UK, Cyprus, Greece, Poland and Hong Kong), of the experimental folk ensemble ‘Trio NeRo’ (Fengaros 2015, Xarkis, Windcraft festival 2016, Paphos 2017), of the dance theatre group ‘klinisch getestet’ and he is a trustee in Conductive Music Project (London, UK). As a music teacher, he has worked at the Lions International Clubs’ Kindergarten in Nicosia, (ages 3-5) and as music and sound instructor at the Kids’ University at Artos Cultural Foundation (ages 6 – 12). Since September, he is a research associate at the European University in Cyprus where he also teaches (MA) Music Technology in Education. He is the music teacher in the lower school of American Academy Larnaca and he works at the Hellenic Conservatory of Archangelos as a sound engineer and videographer. As a participant in Ostrava Days Festival 2015, he was mentored by Alvin Lucier, Christian Wolff, Phill Niblock, Peter Ablinger, George Lewis, Rolf Riehm, and Richard Ayres. In February 2016 he was one of the 16 composers selected for the 22nd Young Composers Meeting in Apeldoorn, NL. Nektarios is interested in poetry; he writes frequently, both in Greek and in English and his poems have been published in the Cyprus Independent/Φιλελεύθερος newspaper, in Avant Garde magazine, in Νέα Εποχή and Ακτή poetry journals, and in poiein.gr. His recent theatre play was selected for performance by the International Theatre Institute, Cyprus (ITI).
Title: In between the traditional musical “partitura” and visual communication: semiotics and new trends in graphic, illustration and animated notation.
This paper explores three diverse visual approaches derived from one music score piece. These approaches deal with graphic, illustrative and animated visual design communication. The focus of the research centers around the hybrid of standard music notation fused with interdisciplinary artwork; that strike a great balance between traditional notation and augmented visual communication. The music composition is an original work, which acts as a starting point for engaging three artists, interpreting the score by filtering and adapting their personal/specialized approach. Observations recorded on how the artists engaged with the visual representation of music. The aforementioned diverse approaches suggest that the method of reading a music score, breaks/moves away from all the clichés or music stereotypes.
Lecturer in Animation at Graphic Design Faculty of TEI of Athens.
SPYROS SIAKAS (PhD, MA): He is an animation director, lecturer of Animation at Technological Educational Institute of Athens (Dept. of Graphic Design), as well as a tutor at the Open University, Greece. His films have been screened and received awards in many international festivals, including the ASIFA award in Balkanima Animation Film Festival (2005) for The Mirror Stage.
Title: The CyberTree: A teaching model of introducing the blenfer 3d as an animation tool in the lessons of 3d Environment and 3d Animaton at the Graphic Design Faculty of TEI of Athens, a Greek National University.
In this paper we try to outline the basic principles of a teaching model named “Cyber Tree” which is used for the developing of the curriculum of the lessons of 3d Environment and 3d Animaton at the Graphic Design Faculty of TEI of Athens, a Greek National University.
In particular we describe:
- The pedagogical context through which the Cyber Tree Model is developed.
- The particular stages of developing the Cyber Tree and how the creative tools of 3d design and animation in Blender 3d are linked with them
Thereafter we present some completed student projects as a result of the first implementation of the Cyber Tree Model in the lesson of 3d environment for 13X3 hour lessons.
Stephanie Black is a practitioner-researcher in illustration, and completed a practice-led Ph.D. at the University of the West of England (Bristol), and currently lectures at Plymouth University. She has exhibited nationally and internationally, works to commission, and is also co-editor of an online drawing research project called Hatch. Stephanie also writes about illustration, focusing on the methods employed and theoretical territory it traverses.
Title: Plume of Feathers: Still Moving Images
This paper will explore the relationship between still and moving images in a project consisting of illustration as a visual essay making use of film and still image, which is projected over the live performance of a music album. Here, the manipulation of time to deliver the visual component can, deliberately, alternate between motion and lack of motion to exploit the friction between sound and image, and encourage critical thinking within the audience who is asked to span the gaps and synthesise divergent messages.
The paper will focus on the contribution of the visuals as an “open work”, both in its production and performance. The practice discussed operates as informed voice within the conversation, with both image and vocals exploring the topic of the decline of the public house in the UK. In this regard, the visual project questions the dominant representations of the pub in circulation. And this reinforces the need for us to make informed visual communication as practitioners, in order to help us all question, understand and contribute to the post-Brexit, post-factual world we live in.
Dr Stefanie Savva (PhD Essex, MA Essex, BA Derby) has recently obtained a doctorate in Creative Writing. Her thesis, entitled I Dreamt of Saltwater and Eggs: Magic, Nation and the Writer-out-of-country, explored themes of nationalism, post-colonialism and identity creation in fiction with special attendance on the genre of magical realism and its migration to non – Latin American writing. Her research interests include definitions of magical realism, fairytales and their re-tellings, the emergence of Greek and Turkish nationalism and Cypriot fiction. She is currently working on the publication of her first novel.
Eirini Apanomeritaki – talk
Eirini Apanomeritaki (MA Essex, BA National and Kapodistrian University of Athens) is a Graduate Teaching Assistant and PhD Candidate of Comparative Literature at the University of Essex where she also works for the Centre for Myth Studies. Her thesis investigates the trope of metamorphosis in twentieth century literature and raises questions of subjectivity and identity in writers such as F. Kafka and V. Nabokov, V. Woolf and E. Fakinou. Her research interests include the reception of myths in modern and post-modern fiction, fantasy literature and film, psychoanalysis, and feminist studies.
Title: Expressions of nostalgia: Loss and displacement in Politiki Kouzina and Dedemin Insanlari
As Aslı Igsız argues in the paper Documenting the Past and Publicizing Personal Stories: Sensescapes and the 1923 Greco-Turkish Population Exchange in Contemporary Turkey, recently there has been a shift in the ways in which people in Turkey are engaging with history and self-identification which opposes the official historiography that has been promoted by the establishment. While Igsız focuses on literature, and especially the biographical literature that aims at documenting family histories before and after 1923 and the imitate results of the population exchange, cinema has also followed accord with the most prominent example being Dedemin Insanlari (My Grandfather’s People – 2011).
The film shares many similarities with the 2004 Greek film Politiki Kouzina (A Touch of Spice). Both stories explore the relationship between a grandson and a grandfather and their subsequent struggles with self-identification, nationalism and masculinity. While Dedemin Insanlari follows the struggles of a Greek born Muslim who leaves Crete with his family in 1923, Politiki Kouzina concentrates on an ethnically Greek family which struggles with life in Turkey as the political relationships between Greece and Turkey become gradually more heated. While the rest of the family relocates in Athens, the grandfather remains behind and fails to visit Greece.
This shift in narratives from the two countries is symptomatic of nostalgia; a nostalgia for a home that never was, a nostalgia for belonging. Both grandfathers wish to visit the homeland -Greece- and the task of bringing them home is bestowed on their grandsons who undergo a coming-of-age of sorts as they struggle to understand the history of their families and their lands. Through a close examination of narrative techniques, cinematography and music, the paper aims towards a comparative study on the treatment of nostalgia in the two films and the reasons for the emergence of these narratives in contemporary Greece and Turkey. It touches upon the magical realist elements in the films as an expression of trauma and dislocation and maps out the ways in which loss and displacement challenge official historiographies.
Zornitsa Yoncheva – Danilovska is a film critic and a member of the Bulgarian Union of Film Workers. Having graduated from NAFTA (National Academy of Theatre and Film Arts, she went on to become a film critic primarily working with popular newspapers and cultural magazines in Bulgaria (“Culture” – weekly newspaper, “LIK” – literary and cultural magazine).
She focuses her critical analyses on the visual poetics of films. She has become a recurring guest at the International Festival of Film Camera in Bitola, Macedonia for the last 10 years. Some of her articles are dedicated to the great masters of cinematography.
Her love for psychoanalysis and the work of Carl Gustav Jung led her to the redaction of “Insight” – a magazine about popular psychology. She has been writing a separate rubric for a year now dedicated to the world of cinema and, specifically, the use of colors as psychological elements in films.
Title: The colour as a psychological element in the film
“The colour as a psychological element in the film” is a research account of the use of colour as a palette of emotions, moods and feelings within films. All colours have a meaning on an emotional level and they can help students who have studied visual arts, cinema or graphic design, add new visual layers to their artworks. Colours are a language, telling us stories, and the talk will be exploring the notion of how colours tell us stories.
Some of her most notable works include:
- “Journey to the stars – a journey through the dreams” – critical analysis about “Gataka“ (a film directed by Andrew Niccol) and “Contact” (a film directed by Robert Zemeckis)
- “The great gloomy Swedish silence” – about the festival of Ingmar Bergman films in Sofia at 2006 (Presentation on Bergman’s films and aesthetics.)
- “A dance with the camera” or “Painting in motion” (about cinematographer Mihael Krichman/Andrey Zviyagintsev’s work).
- “The colorful tales of cinema”
- “Cache – Hidden games of unconsciousness (analysis of the movie “Cache” directed by Michael Haneke)
- “Behind the walls of reality: Dream-play” (the dreams of August Strindberg, Ingmar Bergman and many others)