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Ob železnici 8
Maribor, Upravna enota Maribor, 2000
Slovenia

StopTrik International Film Festival is dedicated to stop motion techniques of hand-made, spatial animation as puppet film, claymation, object or photography manipulation, animation of loose materials (such as salt, sand etc), pixilation, traditional cut-out and many more. The list of sub-genres could be complemented with such exceptional techniques as animation of lights, fire, yarns, threads. Artists' imagination is limitless and so we can be neither orthodox nor strict while defining the term "stop motion". The ultimate goal of this unique annual gathering is to admire and celebrate artistry of hand-made, spatial animation together with all the other drifters of the surreal, absurd or merry highways who are ready to pursue frame by frame illusion.

News 2019

Winners & Laureates of 9th StopTrik IFF 2019

Kaja Fiedler

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The crowds of guests, artists, curators, panelists, professionals, volunteers, fans, viewers, team members and all living creatures of StopTrik's 9th edition are dancing at traditional ending party with DJ Muzika za dobar đir at Dvorana Gustaf.

We have experienced yet another inspiring edition with the beautiful crowd of imaginative people meeting, talking, sharingideas etc, and we look forward to see which great works will emerge from this and which we will of course present next year! ;)

We are honoured to present the 9th StopTrik IFF laureates, chosen by our Grand Prix juror - the Maribor audience, our Maribor Student jury and our guests - animation professionals!

CONGRATULATIONS!

See you again in Maribor next year!


*Maribor Audience Grand Prix* International Stop Motion Competition

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Enough/Dovolj
Anna Mantzaris, 2017, UK, 2'20''

Moments of lost self control.


*Maribor Audience Grand Prix* The Borderlands Competition

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DONT KNOW WHAT/Ne vem kaj
Thomas Renoldner, 2019, AUT, 8'7''

When art and entertainement clash. --- A slapstick avantgarde film.


*Maribor Student Jury Award* International Stop Motion Competition

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The Diver/ La plongeuse/ Skakalka v vodo
Iulia Voitova (La Poudriere), 2018, FRA, 4'9'

A professional diver undergoes an intense training regime punctuated by relentless blasts on her trainer's whistle. Utterly exhausted, she refuses to dive again and decides to visit a masseur.


*Maribor Student Jury Award* Borderlands Competition

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DONT KNOW WHAT / Ne vem kaj
Thomas Renoldner, 2019, AUT, 8'7''

When art and entertainement clash.


*Special mention from Olga Bobrowska (Festival Director)*

'An overwhelming visual pleasure may come from perfectly dynamic, brilliantly ironic and disturbingly truthful work of collage.'

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Erodium Thunk
Winston Hacking, 2018, CAN, 2'50''

The film was made specifically for a group show in Vienna (curated by Clint Enns and Madi Piller) titled From A to Z, that reflects on Micheal Snow’s 1956 animated film of the same name, and his multiplicity of approaches which fluidly transition between media and form.


*Special mention from Michał Bobrowski (Programme Director)*

Freeze Frame / Zamrznjen posnetek
Soetkin Verstegen, 2019, BEL/GER, 5'

Freeze frame: the most absurd technique since the invention of the moving image. Through an elaborate process of duplicating the same image over and over again, it creates the illusion of stillness. In this stop motion film, identical figures perform the hopeless task of preserving blocks of ice, like archivists. The repetitive movements reanimate the animals captured inside.


*Special mention from Maciej Misztal (Lublin Film Festival)*

Memorable/ Mémorable/ Nepozabno
Bruno Collet (Vivement Lundi !), 2019, FRA, 12'2''

Recently, Louis, painter, and his wife Michelle are experiencing strange events. Their world seems to be mutating. Slowly, furniture, objects, people lose their realism. They are destructuring, sometimes disintegrating…


*Special mention from Nancy Denney-Phelps*

'My award goes to a film that made me laugh and want to cry at the same time for it's touching portrayal of loneliness and longing.'

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Portrait of Suzanne/ Portrait en pied de Suzanne/ Portret Suzanne
Izabela Plucińska (Fundacja Las Sztuki), 2019, POL/FRA, 15'

In a small hotel in France, there is a man who tries to stop his hunger for love by eating excessively. Unexpectedly, his left foot transforms into his lost lover, Susanne. Still, this is just the beginning of a surreal story, made of plasticine, about loneliness, jealousy and love.


*Special mention from Daniel Šuljić (Animafest Zagreb World Festival of Animated Film)*

The Opposites Game / Igra nasprotij
Lisa LaBracio, Anna Samo (TED-Ed), 2019, USA, 4'45''

A classroom erupts into a war of words as students grapple with a seemingly simple prompt: what is the opposite of a gun?


*Special mention from Primanima Festival*

The curators of Primanima Festival, Dóra Bartal and Annaida Orosz give their special mention to a film in which form, technique, and content is in a perfect and harmonious match and gives our tired bodies a much-needed stretching.

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The Diver/ La plongeuse/ Skakalka v vodo
Iulia Voitova (La Poudriere), 2018, FRA, 4'9'

A professional diver undergoes an intense training regime punctuated by relentless blasts on her trainer's whistle. Utterly exhausted, she refuses to dive again and decides to visit a masseur.


*Special mention from Pedro Rivero (Animakom Bilbao)*

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Sister/ 妹妹/ Meimei/ Sestra
Siqi Song, 2018, CN/USA, 8'4''

A man remembers his childhood memories of growing up with an annoying little sister in 1990s China. How would his life have been if things had gone differently?


*Special mention from Franziska Bruckner (St. Poelten University of Applied Sciences)*

'The Diver shows a strong and successful woman that gets a little bit of support just in the right moment. The story is told for a unique perspective and with the unique animation technique.'

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The Diver/ La plongeuse/ Skakalka v vodo
Iulia Voitova (La Poudriere), 2018, FRA, 4'9'

A professional diver undergoes an intense training regime punctuated by relentless blasts on her trainer's whistle. Utterly exhausted, she refuses to dive again and decides to visit a masseur.


*Special mention from Waltraud Grausgruber (TrickyWomen/ Tricky Realities Festival)*

'I love this film for its sensual combination of abstract animation with daily life routine. The power of this work lies in the brilliant synthesis of its innovative stop-motion-technic, excellent sound and outstanding visual language.'

Marbles/ Frnikole
Natalia Spychała, 2019, POL, 5'22''

Hypnotizing pendulum sets a particular mechanism in motion. A figure appearing fragmentarily, space and a variety of objects form a rhythmic system of mutual dependence. What is the cause and what is the effect?

Selection results

Lina Dvoršak

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After heavy deliberations we have selected 58 stop motion and experimental shorts to be presented in International Stop Motion and The Borderlands competitions as well as non-competitive Panorama section during the 9th StopTrik IFF. That was challenging! Some trademarks of this year's selection can be named: inventive film language, daring and unique character design, nuanced storytelling developed by the authors who make shorts longer than the festival audiences got used to in recent years... And naturally the exciting presence of an experimentation spirit which we attempt to capture within „The Borderlands” programme. It is not modest to say but we present the following programme proudly. Along the titles of already achieved well-deserved acclaim, you will find jewels yet to be discovered. Films that playfully evoke qualities of live-action genre cinema reside on the list side by side with visually-driven anecdotes of purely illusionary essence. Some are charming, tender and romantic, other ironically bitter, intellectually sophisticated and even provocatively disgusting. Sensitive individuality is fragile, especially in the times we're living now. Let us cherish some of its meaningful outcomes together.

  

Detailed lists of accepted films below [expected screening order].

  

 

INTERNATIONAL STOP MOTION COMPTETION

28 films from Australia, Belgium, Brazil, Canada, China, Croatia, Czech Republic, France, Germany, Hungary, Iran, Poland, Russia, Singapore, Spain, Sweden, UK, Uruguay, USA

 

ISMC 1: screening in Maribor, 04. 10. 2019 (Friday); Screening in Lodz tba

1.     Memorable/ Mémorable, dir. Bruno Collet, prod. Vivement Lundi ! (Jean-François Le Corre), 2019, France, 12'

2.     Helix, dir. Károly Kása Papp, prod. Umbrella (Zoltán Hidvégi, Miklós Kázmér), 2018, Hungary, 5'23''

3.     Imbued Life/ Udahnut zivot, dir. Ivana Bosnjak, Thomas Johnson, Bonobostudio (Vanja Andrijevic), 2019, Croatia, 12'15''

4.     Diver, The/ La plongeuse, dir. Iulia Voitova, prod. La Poudriere (Annick Teninge), 2018, France, 4'

5.     Daughter/ Dcera, dir. Daria Kashcheeva, prod. FAMU - Film and TV School of the Academy of Performing Arts in Prague (Alexandra Hroncova), 2019, Czech Republic, 14'44''

6.     Love Me, Fear Me, dir. Veronica Solomon, prod. Filmuniversität Babelsberg KONRAD WOLF (Cristina Marx), 2018, Germany, 6'

7.     Enough, dir. Anna Mantzaris, prod. Royal College of Art (Anna Mantzaris), 2017, UK, 2'20''

8.     Raymonde or The Vertical Escape/ Raymonde ou l'évasion verticale, dir. Sarah Van Den Boom, Papy3D Productions / JPL Films (Richard Van Den Boom), 2018, France. 16'45''

 


 

ISMC 2: screening in Maribor, 04. 10. 2019 (Friday); Screening in Lodz tba

1.     Freeze Frame, dir. Soetkin Verstegen, prod. Akademie Schloss Solitude (Soetkin Verstegen), 2019, Belgium/ Germany, 5'

2.     Preta, dir. Elisabeth Jakobi, prod. Film University Babelsberg KONRAD WOLF (Christina Marx), 2018, Germany, 4'30''

3.     Last Crow, The/ El último canto, dir. Borja Guerrero, prod. OQO editora (Zé Carlos Pinto), 2018, Spain, 14'58''

4.     Act of Breathing, The, dir. Hana Yamazaki, prod. MOME Anim (József Fülöp, Eszter Glaser), 2018, Hungary, 6'47''

5.     Eaten, dir. Mohsen Rezapour, prod. Jibi Studio, Documentary and Experimental Film Center (DEFC) (Mohsen Rezapour, Haleh Moaddabian), 2019, Iran, 7'20''

6.     Tulipomania: (This Gilded Age) So What Are You Looking At?, dir. Cheryl Gelover, Tom Murray, prod. Tulipomania, 2019, USA, 3'18''

7.     Sister/ 妹妹/ Meimei, dir. & prod. Siqi Song, 2018, China/ USA, 8'

8.     Muedra, dir. Cesar Diaz Melendez, prod. Mizunonaka, 2019, Spain, 8'50''

9.     Bottleneck/ Flaskhals, dir. Pella Olsson, prod. Pella Olsson EF, 2019, Sweden, 3'

10.  Metamorphosis, dir. Carla Pereira, JuanFran Jacinto, prod. Autour de Minuit, 2019, Spain/ France, 10'35''

11.  Marbles, dir. Natalia Spychała, prod. The National Polish Film School in Lodz (Krzysztof Brzezowski), 2019, Poland, 5'22''

 


 

ISMC 3: screening in Maribor, 05. 10. 2019 (Saturday); Screening in Lodz tba

1.     Piece of Meat, dir. Jerrold Chong, Huang Junxiang, prod. Finding Pictures (Jerrold Chong), 2019, Singapore, 11'50''

2.     Embraced/ Etreintes, dir. Justine Vuylsteker, prod. Offshore (France) (Rafael Andrea Soatto), ONF (Canada), 2018, France/ Canada, 5'27''

3.     Opposites Game The, dir. Lisa LaBracio, Anna Samo, prod. TED-Ed (Gerta Xhelo), 2019, USA, 4'45''

4.     Feather Pillow, The/ Almofada de Penas, dir. Joseph Specker Nys, prod. 2 Plátanos Filmes, 2018, Brazil/ Uruguay, 12'17''

5.     We're Dead, dir. Samuel Lewis, prod. Samuel J. Bailey, 2018, Australia/ UK, 4'33''

6.     TellTale, dir. & prod. Fu Yang, prod. 2019, USA, 3'

7.     Little Soul, The/ Duszyczka, dir. Barbara Rupik, prod. Polish National Film School in Łódź (Przemek Glajzner), 2019, Poland, 9'

8.     Three sisters/ ТРИ СЕСТРЫ/ Tri sestri, dir. Svetlana Andrianova, prod. Soyuzmultfilm film studio (Alexandra Sholudko), 2019, Russia, 8'

9.     Portrait Of Suzanne/ Portrait En Pied De Suzanne, dir. Izabela Plucińska, prod. Fundacja Las Sztuki (Paulina Ratajczak), 2019, Poland/ France, 15'

 



THE BORDERLANDS COMPETITION

14 films from Austria, Canada, China, Croatia, Czech Republic,

Germany, Hong Kong, Italy, Japan, Poland, Russia, Slovenia, UK, USA

 

Screening in Maribor, 05. 10. 2019 (Saturday); Screening in Lodz tba

1.     Erodium Thunk, dir. & prod. Winston Hacking, 2018, Canada, 2'50''

2.     Almost There, dir. Nelly Michenaud, prod. Nathanael Baring, Kate Phibbs, 2019, UK, 8'44''

3.     Bero, dir. Sasha Svirsky, prod. Nadezhda Svirskaia, 2019, Russia, 1'5''

4.     Serial Parallels/ 序列平⾏, dir. Max Hattler, prod. Relentless Melt (Max Hattler), 2019, Hong Kong/ Germany, 9'

5.     25/25, dir. & prod. kinoMANUAL, 2018, Poland, 4'20''

6.     PIT STOP, dir. Mikail Ekiz, prod. The Savannah College of Art and Design (Madeleine Arana), 2019, USA, 3'55''

7.     Alma, dir. & prod. Michelangelo Fornaro, 2019, Italy, 11'31''

8.     I'm Not Feeling Very Well, dir. Sunčana Brkulj, prod. Academy of Fine Arts, University of Zagreb, 2019, Croatia, 3'32''

9.     Fleeting Autumn/ ⾏く秋/ Yuku Aki, dir. & prod. Vojtěch Domlátil, 2018, Czech Republic/ Japan, 8'

10.  Foreign Exchange, dir. & prod. Corrie Francis Parks, 2019, USA, 5'45''

11.  Gun Shop, dir. Patrick Smith, prod. Kaori Ishida, 2019, USA, 2'20''

12.  In Trance it, dir. Reinhold Bidner, prod. gold extra (Sonja Prlic), 2018, Austria/ Slovenia, 6'19''

13.  Run, dir. Leilei Xia, prod. Rhode Island School of Design, 2019, USA/ China, 4'20''

14.  DONT KNOW WHAT, dir. & prod. Thomas Renoldner, 2019, Austria, 8'

 

 


 

PANORAMA

16 films from Brazil, China, Croatia, France, Germany, Ireland, Italy,

Poland, Russia, Slovenia, Switzerland, UK, Ukraine

 

Screening in Maribor: 03. 10. 2019 (Thursday); Screening in Lodz tba

 

1.     Flower and The Girl, dir. Robin Heap, prod. Breakneck Films (Jo Lewis), 2019, UK, 9'19''

2.     Corkscrewed, dir. & prod. Massimo Ottoni, 2019, Italy, 3'51''

3.     Five/ Fuenf, dir. Peter Kaboth, prod. Pan Kaboth (Fabian Driehorst), 2019, Germany, 6'55''

4.     Chess/ ШАХМАТЫ/ SHAKHMATY, dir. Alexey Pochivalov, prod. Soyuzmultfilm film studio (Alexandra Sholudko), 2019, Russia, 6'

5.     Do Not Touch!, dir. Pavel Endrle, prod. The Ladislav Sutnar´s Faculty of Design and Art (LSFDA) of the University of West Bohemia (Jan Prihoda), 2017, Czech Republic, 0'50''

6.     J Swordsman/ 义胆鸡侠, dir. Zhijing Wu, prod. Studio Fantastic Sky & Donghai Children's Stop-motion Animation Studio (Su Donghai), 2019, China, 11'

7.     Misplaced Memories/ Zagubljena sjećanja, dir. Ivana Radić, prod. Zagreb film (Vinko Brešan) and Academy of Fine Arts in Zagreb (Aleksandar Battista Ilić), 2019, Croatia, 6'15''

8.     Dorothy, dir. & prod. Ann Upton, 2019, Ireland, 3'22''

9.     ZAGREB FILM FESTIVAL 2018 - opening sequence/ Zagreb film festival 2018 Špica, dir. Luka Vucić, prod. Studio Vucić, Šesnić & Turković, 2018, Croatia, 1'3''

10.  Sincerely, Now Air, dir. & prod. Theresa Grysczok, 2019, Germany, 5'45''

11.  Contemporary Trash, dir. & prod. Milo Bonnard, 2019, UK/ France, 1'3''

12.  Cat and Mouse, dir. students collective, prod. Univerza v Novi Gorici Akademija umetnosti (Boštjan Potokar), 2019, Slovenia, 2'33''

13.  Her Cookie, dir. Geena Gasser, prod. HSLU - Lucerne School of Applied Arts and Sciences, Animation Departement (Jürgen Haas), 2018, Switzerland, 2'56''

14.  This Is Just Space/ Это просто космос/ Eto prosto kosmos, dir. & prod. Svitlana Magda, 2019, Ukraine, 5'17''

15.  Bath, dir. Alicja Kucharska, Magda Wojciechowska, prod. Workshops Anima in Dresden, Fundacja "Filmowiec", 2019, Poland/ Germany, 1'6''

16.  Guaxuma, dir. Nara Normande, prod. Les Valseurs (Damien Megherbi & Justin Pechberty), Vilarejo Films (Livia de Melo), 2018, Brazil/ France, 14'16''

 

9th StopTrik IFF, Autumn 2019: Freedom of the Frames, or Feminism and Stop Motion Animation

Lina Dvoršak

StopTrik IFF, a festival of stop motion animation, gets ready for its 9th edition in Maribor (Slovenia, Oct. 3Rd - 6th) and Lodz (Poland, Nov. 8th – 10th) in the spirit of feminist reflection. While the call for entries addressed to the authors and producers of stop motion and experimental shorts made worldwide between 2017 and 2019 is open until August 7th (https://www.stoptrik.com/entry-form), the organizers already work on providing programming and facilitating intercultural meetings that would give all festival's attendees many opportunities to discuss problems and promises of feminist agenda in animation filmmaking.

 

StopTrik 2019 competition programmes will showcase what's best in the sense of aesthetics, techniques and surprising intellectual twists in contemporary, widely understood, stop motion international production. As each year we invite Festival's Audiences and Students of Maribor and Lodz to become jurors of StopTrik's competitions. Special retrospectives are planned as visual vertigo of feminist animation filmmaking curated by extraordinary women film experts and animation directors such as Franziska Brückner (St. Poelten University of Applied Sciences, Austria), Paola Bristot (Academy of Fine Arts in Venice, Italy) and Katarzyna Kijek (stop motion filmmaker, Poland). Brückner traces experimental approaches, Bristot plays with the concept of “perfection”, while Kijek presents animated music videos that loudly and imaginatively convey feminist inclinations.

 

Partner festivals always posses unique place in our programming. This year's guests – Tricky Women/ Tricky Realities Festival (Vienna, Austria), O!PLA (Festival of Polish Animation) and Animafest Zagreb (Croatia) – bring winners, laureates and excellent works of particular selectors' choice to Maribor's high schools in order to talk about animation art face to face with youth. Our men allies, artistic directors Maciej Misztal (Lublin Film Festival, Poland) and Pedro Rivero (Animakom Bilbao, Spain) will add up to the wide range of presented feminist expression with live-action and experimental shorts as well as comic books. Lectures, panels and special gatherings will give us space to discuss our expectations towards combination of animation art and new wave of feminism that floats around various societies. Those primarily interested in specificity of stop motion animation will be meeting film directors during everyday Q&A. Furthermore, StopTrik's traditional delight, “Trik Show” panel about technical aspects of stop motion craft, will be complemented with insight into VR connection with stop motion animation and crush course into music composing for animated film. Youngest audiences will find thrilling introduction to stop motion through various films presented at the Puppet Theatre in Maribor as well as special surprise that will allow them to encounter Chinese traditions of shadow-plays from Sichuan region. While you have to be patient and allow us to reveal names and contributions of amazing filmmakers, speakers and panelists step by step, you can already think about joining practical workshop of stop motion animation led by Serbian duo Ana Nedeljković and Nikola Majdak Jr., authors of acclaimed Rabbitland and Untravel. And naturally, plenty of other special events such as concerts, exhibitions, guided tours, parties etc., should be expected!

 

If you are wondering what causes stop motion festival to point attention to the question of the presence of feminism in the alluring realm of puppets, clay, manipulated objects and photographs or ephemeral worlds reshaped with every movement of salt, sand, coffee and other loose materials, let us say that the aim here is clear and simple. Let's go beyond social media bubble-hypes and think together what's the meaning of contemporary feminism in relation to medium of our common interest. And let's focus on problems that are relevant here-and-now for all the animation artists who work outside of dominant modes of production. This is why encourage thinking about relations of feminism and animation under two frameworks: aesthetic (“Feminism is futurism”) and social one (“Context matters”).

 

By their nature contemporary stop motion artistic shorts go counter-mainstream. Market-driven TV and commercial production rarely cares about the flows occurring in the circuit of animation film festivals. The artistic scene liberates creative individuals who pursue their unique needs and visions. But feminist filmmakers, regardless gender, do something more: they disrupt modes of artistic production praised as canon by experts. When it comes to use of techniques, editing concepts and general habits of perception, feminist animators pay special attention to avant-garde cinematic heritage that throughout decades has kept on shaking and twisting mainstream standards of a “perfect film”. Feminist approach in film arts anticipates future innovations and at the same time explores past experimental traditions. Thinking about Futurism may give us some inspirational context. Phallocentric and male-oriented dominant tendencies of Italian Futurism have been brilliantly demystified by women artists affiliated with various forms and concepts of modernism. Yet even contemporary fine arts and cinema readers haven't fully acknowledged the influence of many daring women and transgender painters, sculptors and writers. History of animated film narrated as a chain of technological developments and changes within national studio systems seems no different. But today's feminist audiences and filmmakers may revise such dominant perspective on specific avant-garde trends (as Futurism) and canon of film history for their own artistic and intellectual benefit. By the examples of curated film programmes we will collectively think about the means and ways of reclaiming crucial notions of modernization and technology, we will search for new sources of vital fervor for transformation of bodies, mindsets and environments. All across the world, new feminist movements spread the last call to resist authoritarian state-powers that accept and/or encourage regressive populists to belittle human rights understood as rights of women, non-normative gender and sexual groups, ethnic minorities and rights of all of those who value citizenship and natural environment more than nationality or religious affiliation. Such activists are becoming avant-garde of the contemporary societies. Let's verify if the animators who are outsiders in the mainstream film production hear this call and give their audiences ways to answer it.

 

No working environment is free from glass ceiling, pay-gap, disappropriation based on gender and sexual diversity (just to name few work-related major problems feminism struggles against), but it is utmost difficult to react and fight against discrimination when you are a commissioned artist on a short-term contract. Speaking up for yourself might be also very hard for a person fresh from arts academy where one studies how to be an auteur, yet no knowledge is transferred in regard to your rights as an author functioning in capitalist production and distribution mode. While a lot of inspiring discussions go around various forum organized in USA, France and UK, filmmakers from Central-East Europe haven't really formed yet a united front. Perhaps that's because not much of reflection on cultural and economic specificity shaping animator's position has been developed in the region. EU system of support for film creativity provides a lot of opportunities, yet vast majority of artists-workers' reality is the one of a small, independent film studio, alienated from possible benefits that are rather designed for co-production networks grounded in public, financial and media establishments. Animators' working ecosystem is fragile but its landscape strongly turns into feminine one as each year all around the region we see more and more women entering professional schools, graduating, debuting and paving their way forward. While trends advocated by Western-countries based women's organizations are inspiring, and critical analyses of work and culture production structures developed in Hollywood may be eyes-opening, it seems only reasonable to find language and solutions that refer directly to our own daily experiences. Feminist perspective on animation filmmaking goes far beyond questions of individual style or general aesthetic criteria. Feminism is a daily practice of approaching social and political problems in a manner of strong, mutually shared affirmation of human rights, individual freedom and respect towards any marginalized group, areas particularly redefined in recent times in Central-East Europe. Reflecting upon filmmaking practice of stop motion, determined by ability to transform and move once stable matter through means of frame by frame animation, seems as a perfect field for such an exercise. On top of explorations of historical achievements and contemporary trends, we might even acknowledge new ways that may free individual expression and collective empowerment. Perhaps we are just framed within mainstream production status quo, anti-human rights backlash and populist fears, and you can use a Festival as an exit from such kind of reality.

  

Contact us:

 

www.stoptrik.com

www.facebook.com/StopTrikFestival

www.instagram.com/stoptrik

 

 In English and Polish:

Olga Bobrowska, Festival Director, stoptrikfestival@gmail.com, 0048 536 256 157

Michał Bobrowski, Programme Director, mch.bobrowski@gmail.com

CALL FOR ENTRIES - CLOSED

Lina Dvoršak

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Entry form & regulations available HERE!

 

CALL FOR ENTRIES TO INTERNATIONAL COMPETITIONS ON 9. STOPTRIK INTERNATIONAL FILM FESTIVAL IN SLOVENIA AND POLAND!

StopTrik IFF is a festival and community that celebrates amazing film art of stop motion animation. We appreciate the works made in traditional techniques of three-dimensional hand-made animation but we are also excited to discover experimental, mixed and hybrid forms. Whether you are a professional, student or an enthusiast you are more than welcome to share your films with our Audience – the best and most valuable juror that decides about the festival's Grand Prix. We show the Competition and Panorama programmes in Slovenia and Poland, and whenever possible we support the authors' participation in the Festival. Once you're on StopTrik please get ready for marathon-watching of the most brilliant recent and historical stop motion films, several discussions about art, craft, life, politics and whatever you wish to talk about, workshops of stop motion filmmaking, morning urban walks, afternoon vegan lunches, late night dances, and 24/7 stop motion passion!

  

“International Stop Motion Competition” and “The Borderlands Competition” will take place in Maribor on 03. - 06. 10. 2019 and Łódź on 08.-10. 11. 2019.

 

We are waiting for your submissions until 11/ 08/ 2019. The list of accepted films will be announced no later than  25/ 08/ 2019. Submission to 9. StopTrik IFF is free of charge.

 

Films accepted to the competitions should last no longer than 30 minutes and be realized after 01/ 01/ 2017. Delivery of film copy along with signed documents (regulations, entry form) is a condition for successful submission. Submissions may be delivered either by tradition post service (delivery address: Michał Bobrowski, StopTrik International Film Festival, ul. Hirszfelda 21/61, 20-092, Lublin, Poland) or by online transfer (please send email to stoptrikfestival@gmail.com, including required documents and link for downloading film copy from e.g. wetransfer.com, dropbox.com etc).

 

StopTrik IFF is a stop motion animation film festival therefore competitions are open for films that use stop motion means of expression (puppet/ clay/ cut-out/ objects/ loose materials/ pixilation etc).

The best films will be awarded with following awards: (1) MARIBOR AUDIENCE GRAND PRIX, (2) LODZ AUDIENCE GRAND PRIX, (3) MARIBOR STUDENTS AWARD FOR BEST STOP MOTION ANIMATION, (4) LODZ STUDENTS AWARD FOR BEST STOP MOTION ANIMATION, (5) THE BORDERLANDS MARIBOR GRAND PRIX, (6) THE BORDERLANDS LODZ GRAND PRIX, (7) MARIBOR STUDENTS AWARD FOR BEST FILM OF THE BORDERLANDS, (8) LODZ STUDENTS AWARD FOR BEST FILM OF THE BORDERLANDS, (9) SPECIAL MENTIONS.

www.facebook.com/StopTrikFestival

Propaganda, Ideology, Animation. Twisted Dreams of History

Lina Dvoršak

Propaganda Ideology Animation Twisted Dreams of History.jpg
 

Propaganda, Ideology, Animation. Twisted Dreams of History


Editors: Olga Bobrowska, Michał Bobrowski, Bogusław Zmudziński

Publisher: AGH University of Science and Technology Press

Published in cooperation with: Fundacja Promocji Kultury Artystycznej, Filmowej i Audiowizualnej Etiuda&Anima

 The publication is a part of the project “Twisted Dreams of History. V4 Perspective on Propaganda, Ideology and Animation”, supported by the International Visegrad Fund – Project #21720353

 Language of publication: English

Number of pages: 256

ISBN 978-83-66016-81-1

Krakow 2019

 

Free access to the publication

The publication released in an open access edition can be found at http://fundacja.etiudaandanima.pl/en/propaganda-ideology-animation-twisted-dreams-of-history-publication/

 Printed copies of the publication are delivered for free to various European and worldwide cultural and educational institutions as well as to interested Readers upon request sent at stoptrikfestival@gmail.com (shipping costs are covered by the Reader). Additionally, it is possible to obtain a printed copy at the book presentations held on various animated film festivals and cultural events. Available number of copies is limited. Follow the route of the book presentations on www.etiudaandanima.pl, www.stoptrik.com and our social media!


About the publication

 The presented monograph regards the history and contemporaneity of animated film through a prism of the ideological entanglement of this medium. The editors have invited film scholars and critics to reflect upon the dangerous liaisons between animation art and official propaganda.  Regardless of their ideological backbones, propaganda messages produced by the 20th and 21st century political systems were based upon rather similar theoretical and methodological assumptions. Intrinsically symbolic and synthetic language of animated film allows to observe rhetorical modes and indoctrination strategies in their purest form. The authors of the collected papers study animated production against the background of historical and political contexts that include: Soviet and post-Soviet Russia, USA and Eastern European satellite countries during Cold War, Weimar Republic and Nazi Germany, People's Republic of China under Mao Zedong, Marshal Tito's Yugoslavia and its dramatic breakup, contemporary condition of  European integration. The contributors represent cultural diversity and differentiated research approaches as they come from various academic and cultural environments (Poland, Czech Republic, Hungary, Serbia, China, Greece/Estonia, Russia/USA, Bulgaria/Canada, Bosnia and Herzegovina/Sweden). Next to the papers written by the scholars of highly acknowledged status in worldwide Animation Studies (e.g. Mikhail Gurevich, Midhat Ajanović Ajan), we publish articles of the young generation of academics and film culture activists (e.g. Anna Ida Orosz, Jiří Neděla), as well as a manifesto of the 2017 Oscar-nominated animated film artist Theodore Ushev.

 

Open call for the visual identity of the StopTrik 2019 International Film Festival

Lina Dvoršak

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StopTrik International Film Festival, the oldest European festival dedicated to stop motion animation, invites designers and other visual artists, to create a visual identity for 9th edition of the festival, which will happen at the beginning of October 2019 in Maribor.

This year's edition will explore the field of stop motion animation at the intersection of class, gender, race and ethnicity under the central theme of "Feminism is the Future". We invite you to send us your design proposals by 5th of May 2019 via e-mail at brina.stoptrik@gmail.com. We are looking for solutions that will best present the interpretation of the theme and will show a remarkable style.

Award for the best design proposal is 400 eur (gross 2 amount), attendance at the festival (cover of travel expenses, accommodation and daily meals), presentation in the media and social networks and an independent exhibition on the facade of K18 Gallery in Maribor in 2020.

Conditions of cooperation

The application must include:

- a proposal for a festival poster (in A3 and B1 formats, design can be the same, color print) with the text "9th StopTrik International Film Festival, 3 - 6 October 2019, Maribor "

- a brief description of the proposal.

The visual identity of StopTrika 2019 will appear on various printed and promotional materials and visuals, therefore it is important that it is applicative. It should be set in a way that the graphic elements can later be used for the festival trailer made in the stop motion technique.


The author of the winning proposal will have to complete the poster proposal after the selection and, by the 1st of September 2019, also prepare the following:

- graphic design for a festival bag, backpack or t-shirt (monochrome or two-color screen printing)

- web banners (for Facebook and a website)

- banner for the main venue (color print)

- diploma design for the directors of winning animations  (color print)


Submitted proposals must be copyrighted work that has not yet been published or exhibited.

The jury will consider only the proposals that will be sent by 5th of May 2019 to the e-mail address: brina.stoptrik@gmail.com.

The author of the winning proposal undertakes to make within the agreed time limit and to the best of his ability all the proposals that the client needs to carry out the activity.

The author of the winning proposal will receive a prize of 400 eur (gross amount 2 to be paid through an invoice, student referral or civil law contract), which includes royalties for the proposal of the visual identity and its applications for the needs of accompanying printed and promotional materials and visuals.

The submitted proposals will be evaluated by the jury: Olga Bobrowska (Director of the StopTrik Festival), Lucija Smodiš (Producer of the StopTrik Festival) and Sanja Čakarun (PR of the Animateka Festival). The results of the competition will be publsihed  by 17th of May 2019. The contracting authority reserves the right not to choose any of the proposals.

StopTrik Festival takes place in Maribor and in a smaller version in Lodz, Poland. For more information about the festival, please visit our website: https://www.stoptrik.com/ or write to us at: brina.stoptrik@gmail.com.