In The Piñata King, filmmakers Paul Storrie, Chris Lee, and Charlie Kwai of Tripod City profile a town full of piñata makers—and the papier-mâché master who started it all.
In The Piñata King, filmmakers Paul Storrie, Chris Lee, and Charlie Kwai of Tripod City profile a town full of piñata makers—and the papier-mâché master who started it all. For more than 50 years, Francisco and his family have been making and selling piñatas. Although most of his colorful works of art end up being destroyed, Francisco finds happiness in bringing joy to the children of his community. Now, he continues his legacy by sharing his process with others from his small town outside Mexico City. In The Piñata King, filmmakers Paul Storrie, Chris Lee, and Charlie Kwai of Tripod City profile a town full of piñata makers—and the papier-mâché master who started it all.
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Fundadores: Lope Serrano y Nicolás Méndez
Vía Canada
Website recomendado por Mariana Chávez Berrón, colaboradora de México para Replicación de Arttextum
CANADA es una productora que tiene sede en Barcelona España producen y publican vídeos, discos, libros y objetos físicos de toda índole. Es muy característica su dirección de arte y el link es su archivo de videos desde 2008.
CANADA trabaja Worldwide salvo en EEUU que está representado por The Directors Bureau y en Francia donde lo representa Iconoclast.
Producers: Leonardo DiCaprio & Fisher Stevens Via Before the Flood
Video recommended by Andrea López Tyrer from the Chile/Spain, collaborator of Arttextum’s Replicación
If you could know the truth about the threat of climate change — would you want to know? Before the Flood, presented by National Geographic, features Leonardo DiCaprio on a journey as a United Nations Messenger of Peace, traveling to five continents and the Arctic to witness climate change firsthand. He goes on expeditions with scientists uncovering the reality of climate change and meets with political leaders fighting against inaction. He also discovers a calculated disinformation campaign orchestrated by powerful special interests working to confuse the public about the urgency of the growing climate crisis. With unprecedented access to thought leaders around the world, DiCaprio searches for hope in a rising tide of catastrophic news.
From Academy Award®-winning filmmaker Fisher Stevens and Academy Award®-winning actor, environmental activist and U.N. Messenger of Peace Leonardo DiCaprio, Before the Flood presents a riveting account of the dramatic changes now occurring around the world due to climate change, as well as the actions we as individuals and as a society can take to prevent the disruption of life on our planet. Beyond the steps we can take as individuals, the film urges viewers to push their elected officials in supporting the use of alternative energy sources such as solar and wind power. “We need everyone to demand bold action from their political leaders and to elect representatives who have their best interests at heart, not the interests of corporations to perpetuate a cycle of greed and destruction,” says DiCaprio. “This documentary shows how interconnected the fate of all humanity is — but also the power we all possess as individuals to build a better future for our planet.”
Before the Flood premieres in theaters on October 21st and will air globally on the National Geographic Channel on October 30th in 171 countries and 45 languages. The film is directed by Fisher Stevens and produced by Leonardo DiCaprio, Fisher Stevens, Jennifer Davisson and Trevor Davidoski with Brett Ratner and James Packer of RatPac Entertainment. It was written by Mark Monroe and Executive Produced by Martin Scorsese, Adam Bardach, Mark Monroe, and Zara Duffy. The film is edited by Geoffrey Richman A.C.E., Ben Sozanski, Abhay Sofsky, and Brett Banks. The Director of Photography is Antonio Rossi. The Executive Music Producers are Trent Reznor and Atticus Ross with original music by Trent Reznor and Atticus Ross, Mogwai and Gustavo Santaolalla.
The carbon emissions from Before The Flood were offset through a voluntary carbon tax. Learn how you can offset your own carbon emissions by going to CarboTax.org
We believe in your work, that's why we share it with original links; if you disagree, please contact us.
Related Arttextum Artists:
Grupo Recicla SustentaMick LorussoGilberto Esparza
Web link recomendado por María José Alós, colaboradora de México para Replicación de Arttextum
MUBI es una cineteca en línea que presenta películas de culto, clásicas, independientes y reconocidas internacionalmente. Disponible en más de 200 países alrededor del mundo y en múltiples dispositivos, una suscripción a MUBI es un pasaporte para el mundo del cine. Cada día nuestros expertos presentan una gran película y tienes un mes completo para verla. Eso significa 365 extraordinarios títulos por año, curados por MUBI.
MUBI es el punto de encuentro para todo lo relacionado con la cultura del cine. Entérate de qué habla nuestra apasionada comunidad internacional de cine-fanáticos, estudiantes, cineastas, festivaleros y más. Descubre películas nuevas, lleva un registro de lo que has visto y conoce a otros que aman el cine tanto como tú. ¿Necesitas una guía? Notebook, nuestra revista, ilumina el mundo del cine clásico y contemporáneo con las últimas noticias, entrevistas y críticas.
Film-Flip book, 1970. Courtesy of Angie Fischinger
In the world of design, Fischinger is a towering figure, especially in the areas of motion graphics and animation. He is best known for his ability to combine impeccably synchronized abstract visuals with musical accompaniment, each frame carefully drawn or photographed by hand. A master of motion and color, Fischinger spent months — sometimes years — planning and handcrafting his animations.
Outward Movement, 1948. Favorite painting of Angie Fischinger, Oskars youngest child. Courtesy of Angie Fischinger
Although mostly known for his films, Fischinger was also a prolific painter, creating numerous works that capture the dramatic movement and feeling of his films within a single frame. Unsatisfied with traditional media, he also invented a contraption, the Lumigraph, for generating fantastic chromatic displays with hand movements — a sort of optical painting in motion and a precursor to the interactive media and multi-touch games of today.
Even with the advanced technology that now exists, emulating Fischinger’s work is an impossible task. His colors and motion are so carefully planned yet naturally playful, his timing so precise yet human. So today’s Doodle aims to pay homage to him, while allowing you to compose your own visual music. I hope it inspires you to seek out the magic of Fischinger for yourself.
— Leon Hong, Creative Lead
Click the image to activate the Doodle
Special thanks to Angie Fischinger, Oskar’s youngest child, who played an integral role in making this project possible. Below, she shares some thoughts about her father’s work and life:
My parents were German immigrants. They were forced to leave Germany in 1936 when it became clear that my father could not pursue his work as a filmmaker there (avant-garde was considered degenerate by Hitler and his administration). But many people who had already seen his films recognized his greatness. He received an offer to work at MGM and stayed in Hollywood after the war.
My father was incredibly dedicated to his art — some even called him stubborn. His passion and honesty were part of his brilliance, but they could also make him a bit difficult to work with. Sometimes our family struggled financially as a result, so everybody pitched in — the kids got paper routes or did babysitting. We were raised in a healthy, hard-working environment. We were happy, intellectually stimulated, and dedicated to education. Thanks to my family’s support and encouragement, I graduated from San Jose State and taught in the public school system for 30 years.
I feel incredibly proud of my family and am delighted to be the daughter of Oskar and Elfriede Fischinger. It means so much to me to see this celebration of my father’s art. It’s wonderful to know that his work, which has been steadily praised since the 1920s, will continue to receive worldwide recognition.
Production
Leon HongCreative Lead
Kris HomEngineer
Brian MurrayEngineer
My-Linh LeProducer & Proj Manager
Doodle Support
Perla CamposMarketing & Proj Support
Marci WindsheimerBlog Editor
Preset Composers
Local Natives
Nick Zammuto
TOKiMONSTA
Creemos en tu trabajo y opinión, por eso lo difundimos con créditos; si no estás de acuerdo, por favor contáctanos.
Artículo recomendado por Andrea López Tyrer, colaboradora de Chile/España para Replicación de Arttextum
El no saber estar solo es uno de los síntomas más desafortunados que el cineasta ruso percibía entre la juventud.La soledad es tal vez el ejercicio más natural a nuestro alcance. Es ahí cuando logramos cultivar algunos de los estados más nutritivos para la mente y el espíritu, cuando experimentamos las más sustanciosas tormentas y la más reconfortante quietud. Practicada sanamente, la soledad es un vehículo exquisito. Nuestro diálogo interno adquiere tintes particulares y nos vemos obligados a confrontarnos con nosotros mismos, nos auto-revelamos sin intermediarios. Sin embargo, en muchos contextos se menosprecia, se sospecha de ella o inclusive se le teme; se evita a toda costa y se asocia con la derrota social o el aburrimiento. Y esta aversión cultural por la soledad termina por privar a millones de personas de aprovechar, y disfrutar, las bondades que solo ella provee. ¿Qué le gustaría decirle a los jóvenes? Pregunta el entrevistador a un Tarkovsky plácidamente posado sobre un árbol. A lo que el cineasta ruso, cuya obra por cierto destacó por comulgar con elementos como la pausa, el silencio y la soledad, responde que su principal consejo sería el aprender a cultivar la soledad:No sé, creo que sólo me gustaría decirles que aprendan a estar solos y procuren pasar el mayor tiempo posible consigo mismos. Me parece que una de las fallas entre los jóvenes es que intentan reunirse alrededor de eventos que son ruidosos, casi agresivos. En mi opinión, este deseo de reunirse para no sentirse solos es un síntoma desafortunado. Cada persona necesita aprender desde la infancia cómo pasar tiempo con uno mismo. Eso no significa que uno deba ser solitario, sino que no debiera aburrirse consigo mismo porque la gente que se aburre en su propia compañía me parece que está en peligro en lo que a autoestima se refiere..
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Creemos en tu trabajo y opinión, por eso lo difundimos con créditos; si no estás de acuerdo, por favor contáctanos.
