Join CAMS on Monday, March 27th from 4:30pm to 6:30pm in Gilman 208 for an animation workshop with Adriana Copete, co-sponsored by The Alexander Grass Humanities Institute, the Department of Comparative Thought and Literature, and the Film and Media Studies Program.
Drawing Toward Another Gaze:
Rotoscoping as Feminist Intervention in Documentary
4:30: Chris Taylor, “Traces of Life: Rotoscoping, Realism, and the Realities of Classical Animation Theory”
4:45: Bernadette Wegenstein, “Case Study: Animating the Medieval Bust of Agatha from Catania, Sicily”
5:00: Rotoscoping Workshop led by Adriana Copete
6:15: Q&A and Post-Workshop Reflections
Click here to register for the workshop.
Adriana Copete
A media producer and animator, Adriana graduated from the California Institute of the Arts, where she completed an MFA in Experimental Animation and Integrated Media. Her visual art mixes digital media with hand drawn techniques, stop motion, and live performances as she explores memory, oral narratives, and animated documentary.
She has cooperated on international animation, collaborative narrative films and documentaries. Her animation work spans philharmonic tour performances, live dome video dance performances at the vortex dome in Los Angeles, and video installations for the independence museum of Colombia. Most recently, she is the animation director for the forthcoming animated documentary Devotti Tutti.
Artist Statement:
I base my work on a strong relationship between film and process. It is a performing act of creating frames, where I look for specific animation methods that correlate each film concept.
Memory and vulnerability drive my creative process, but the thought of survival is interwoven throughout all my films. It is the survival of buskers, squatters, memories after dead, and currently, the survival of the creative process as a piece in itself. So far all those processes are hidden, only fractions coming through to the audience.
I am searching for ways to transform the production process into a piece in itself, as I involve the spectator in the filmmaking act. I am interested in a constant dialogue between the processes; the screen, the space, the mise-en-scene, music and animation, while creating multi-dimensional narratives that intertwine the relationships between mediums, collaborators and the spectators.
These concerns combined with use of new media, are also pushing me to break the unidirectional film role: viewer vs. viewed, and the two-dimensional film screen boundary by creating multi-dimensional narratives in physical spaces.
Adriana Copete
