Plasforms

In this anime visual album, a mysterious driver heads deep into a postapocalyptic hellscape toward a ferocious showdown with two monstrous opponents.

A Shrek parody of Michael Jackson's Thriller song and music video, with Donkey singing.

Taking all the places on both teams, Goofy demonstrates the game of football with varying results, having problems with the coach and the goal post.

Mickey has been reading Alice in Wonderland, and falls asleep. He finds himself on the other side of the mirror, where the furniture is alive.

Po and the Furious Five uncover the legend of three of kung fu's greatest heroes: Master Thundering Rhino, Master Storming Ox, and Master Croc.

Animals band together to save the day when the evil Otto Von Walrus hatches a sinister scheme to accelerate global warming and melt the Arctic Circle.

Across different eras, a poor family, an anxious developer and a fed-up landlady become tied to the same mysterious house in this animated dark comedy.

Goofy, staying at the Sugar Bowl resort, demonstrates the basics of downhill skiing, which the titles and announcer insist is pronounced "SHEEing". The equipment is, of course, of the era. As you can imagine, Goofy has much trouble keeping his skis parallel and pointing downhill. The final ski jump conveniently lands Goofy right back in bed.

A basketball game of Goofs (P.U. vs. U.U.) in which the players play furiously, often breaking the rules of the game. All of the players are named after Disney artists.

When Brainy Smurf is favored to win the annual Smurfberry Hunt for the ninth year in a row, Gutsy Smurf sets out to discover how Brainy wins every year. Gutsy’s investigation takes him into spooky Smurfy Hollow–and right into Gargamel’s trap! Can Brainy and Gutsy, with the help of Smurfette, put aside their rivalry before Gargamel captures them–or worse, they come face-to-face with the legendary ghost, the Headless Horseman?

By accident, Cedric (Goofy), replaces his master, Sir Loinsteak, in the armor just before the joust with champion Sir Cumference.

Tired of always playing the same roles, Little Red Riding Hood, her grandmother and the Wolf demand a new version of the tale. The story then plays out in a more contemporary urban environment, with Little Red Riding Hood working as a pin-up girl in a night club.

This collection of 10 short films produced by Illumination includes: From the "Despicable Me" franchise: Puppy (2013); Minion Scouts (2019); Training Wheels (2013); The Secret Life of Kyle (2017); Santa's Little Helpers (2019). From the "Grinch" franchise: The Dog Days of Winter (2019). From the "Secret Life of Pets" franchise: Norman Television (2016); Weenie (2016). From the "Sing" franchise: Love at First Sight (2017). From the "Lorax" franchise: Forces of Nature (2012).

As the ponies prepare for another Hearth's Warming, families come together to celebrate the holiday; Pinkie Pie, Fluttershy, Applejack, Rarity, and Rainbow Dash are ready for the big day, but Princess Twilight Sparkle doesn't have time to celebrate.

Betty Boop goes to see the fearsome Old Man of the Mountain for herself; he sings the title song and a duet with Betty.

Short film to a song of love lost and rediscovered, a woman sees and undergoes surreal transformations. Her lover's face melts off, she dons a dress from the shadow of a bell and becomes a dandelion, ants crawl out of a hand and become Frenchmen riding bicycles. Not to mention the turtles with faces on their backs that collide to form a ballerina, or the bizarre baseball game.

In the grand tradition of Disney's great musical classics, Melody Time features seven timeless stories, each enhanced with high-spirited music and unforgettable characters. You'll be sure to tap your toes and clap your hands in this witty feast for the eyes and ears.

The Big Bad Wolf torments Little Red Riding Hood and the Three Little Pigs.

Mickey's trying to do some yardwork, but Pluto wants to play. They end up indoors; Mickey breaks a screen, spreads flypaper, and they both get stuck.

In this animated short, a composer realizes that incorporating a discordant tone instead of fighting it creates an unexpectedly beautiful harmony. This short was inspired by writer Sunita Balsara's experience with tinnitus.

American cartoons are the starting point for Martin Arnold's new work. Sequences of short films form the basis of a process of fragmentation, deconstruction, dismantling and repetition. Arnold uses fun, family entertainment to create films with open-ended possibilities for association. His pieces, such as Hydra (2013), Charon (2013), Nix (2013) and Self Control (2011), feature characters whose anatomy is no longer recognizable as such, but rather resemble puppets, remotely controlled from the outside. Trembling hands, dancing tongues, blinking eyes and snoring mouths move like ghosts against an abyss-like deep black background, in which bodily elements constantly disappear, only to reappear once more.

American cartoons are the starting point for Martin Arnold's new work. Sequences of short films form the basis of a process of fragmentation, deconstruction, dismantling and repetition. Arnold uses fun, family entertainment to create films with open-ended possibilities for association. His pieces, such as Hydra (2013), Charon (2013), Nix (2013) and Self Control (2011), feature characters whose anatomy is no longer recognizable as such, but rather resemble puppets, remotely controlled from the outside. Trembling hands, dancing tongues, blinking eyes and snoring mouths move like ghosts against an abyss-like deep black background, in which bodily elements constantly disappear, only to reappear once more.

American cartoons are the starting point for Martin Arnold's new work. Sequences of short films form the basis of a process of fragmentation, deconstruction, dismantling and repetition. Arnold uses fun, family entertainment to create films with open-ended possibilities for association. His pieces, such as Hydra (2013), Charon (2013), Nix (2013) and Self Control (2011), feature characters whose anatomy is no longer recognizable as such, but rather resemble puppets, remotely controlled from the outside. Trembling hands, dancing tongues, blinking eyes and snoring mouths move like ghosts against an abyss-like deep black background, in which bodily elements constantly disappear, only to reappear once more.

Video art by Vibeke Sorensen made at Calarts in 1989

This film was made out of the capture of a live animation performance presented in Rome in January 2005 by Pierre Hébert and the musician Bob Ostertag. It is based on live action shooting done that same afternoon on the Campo dei Fiori where the philosopher Giordano Bruno was burned by the Inquisition in 1600. A commemorative statue was erected in the 19th century, that somberly dominate the market held everyday on the piazza. The film is about the resurgence of the past in this place where normal daily activities go on imperturbably. The capture of the performance was reworked, shortened and complemented with more studio performances.

Abstract video art created in 1979. Video and audio by Dean Winkler, Glenn Van Alstyne, Tom Lucke, Elaine Lewis, and Brian Aitchison. Chirp-1 / Quantel was created in two separate effects passes: At the RPI Video Synthesizer Lab an old porno tape (on stock that was donated to us) was processed using an analog Serge modular music synthesizer to sequence the sounds and control the colorization of an analog Hern video synthesizer. The sounds are also inserted into the video, which are the stripes you see, changing with frequency. The tape from the first pass was taken to EUE Video and used to seed an analog feedback loop around a Quantel 5000 digital effects device.

A feminine machine, stuffed with modern nano-technology and useless operations is depicted in this mixed-media 2D animation short, highlighting the consequences of consumerism and the downfall of civilized society. The machine reminiscent of a two-dimensional video game, leads to a destructive chain reaction after a strange malfunction, with people turning into clones and robots.

Enigma is something of a more glamorous version of White Hole, with a wide variety of elaborate textures (often composed of iconographic and religious symbols) converging towards the centre of the screen.

Abstract video art by John Sanborn and Dean Winkler. Dedicated to Ed Emshwiller.

Furio’s Furious Fragments & Friends - Furio Jesi (1941 Turin -1980 Genoa), enfant prodige moving between a plethora of disciplines – egyptology, history of religions, German philology, literary criticism - passed away prematurely, not without leaving bright fragments which throw light on mechanisms beneath many socio-cultural practices, for instance regarding cultural belonging, the functions of myth in modern society. He saw kind of “mythological machines” at work underneath our cultural production of meanings, historically determined, departing from a void, something that is still in culture but as residue, a missing link to an alleged authentic experience nowadays compromised up to the point to became just rhetoric, a byword, which is in no way neutral, but a tool, a macchina, for maintaining the status quo and serving the power apparatus. As in the case of holidays, celebrations and festivals.

Video art body horror short film.

This is a didactic film in disguise. A progression of brilliant geometric shapes bombard the screen to the insistent beat of drums. The filmmaker programmed a computer to coordinate a highly complex operation involving an electronic beam of light, colour filters and a camera. This animation film, without words, is designed to expose the power of the cinematic medium, and to illustrate the abstract nature of time.

Shot on 16mm film in New York and composed in Berlin, the work explores polarizing themes of the metropolis. Audibly and visually, the viewer is put in a flicker between serenity and intensity; harrowing ambience cut with sharp beeps, vulnerable steps mashed in high velocity.

Confined to an endlessly burning waiting room, a dying sedentary woman experiences herself blurring in and out of her body. In her last remaining fragments she tries to make amends with her spirit before her remaining fragments either decay or create.

Expansion remixes the images of Matsumoto’s Esctasis into an more colourful psychedelic short.

Shows a couple (Adam and Eve) and various objects, simultaneously, in time, space and movement.

In this hyper-realistic digitally rendered video, sandwiches are assembled in sequence. Each component, from the first slice of bread to the last, is dropped dramatically from a height, before bouncing and settling into place in slow motion. Mayonnaise, then ham, lettuce, tomato, cucumber, and the final slice on top. This perfect yet uncanny choreography reads like an exaggerated, perverse take on ‘food-porn’ obsessed advertising campaigns. These sequences repeat, the sound gradually incorporates saws and machinery, echos from empty environments, pianos breaking, smashes, crashes and mechanical crescendos like jet engines alongside eerie drones, bells, and hard rummaging noises. Another piece of bread lands, some rubber baby dolls fall onto it, some brown slop, a blanket, denim jeans, some businessmen in suits, and more slop. Ketchup, then a union jack, all encased in the final layer of bread that falls to the top of the pile to the sound of a tolling bell. Infinite continuation, loop.

“The faster you break it the faster we make it,” says the wooden column at one point, going on to acknowledge the bounteous economic logic of this reality with the observation that “production is sealed in gold.”Early on we see the black-and-white striped house Adolf Loos designed for Josephine Baker. It’s a cardboard model, of course; the plans were never realized. The house is an idea, an image, a virtual presence, a possibility, a provocation. Later in the film it reappears, reconfigured in different materials with a different range of qualities and surface finishes. “Why do so many things look the same, and only one of them is good?” asks a female voice. This is not the column’s voice but that of someone who sounds much like Marten herself. It is, in fact, her sister, one Marten speaking another Marten’s words. After all, in order to manufacture glamour, a little plagiarism is essential. And this process—call it borrowing, copying, paying homage, whatever—is both violent and comic.

For Ed Atkins, Marten’s "Evian Disease" embodies ‘flatness’ in all its weightlessness, emotional deficit and hollowness of representation. The fact that it’s completely unapologetic about it is what makes it a dangerous piece to his mind.

Orchids,… centers on an animated video in which Marten sets forth a sanitised and alluring world of free-floating and fragmentary objects. Excised from normal context and imbued with an impossible cosmetic sheen, these crystalline forms are conjured in colours that range from the surreally heightened to the deliberately banal. A line of toy-like objects – a train, a giraffe on wheels, a boat – trundles along on an impossibly turquoise plane. Parasitically followed by a swirling black fly, the unfolding narrative is one of production, consumption and saturation. Elsewhere, the naked human backside of the title (cropped and anonymous) is shown with a luridly-glowing orchid tucked between its buttocks. At points, the imagery takes on the semblance of a painting or diagram, both formulaic ‘analogues’ of reality, like the video itself, implying the knotty weight of a Cézanne still life.