DOTMOV FESTIVAL 2012

HAPPENING

Screening start from November 2012 throughout 2013 around the world!

DOTMOV is a digital film festival organized by online magazine “SHIFT”, aiming to discover unknown talented creators and provide an opportunity to show their works. We had a total of 194 works from 16 countries this year, and an excellent 13 works among them were selected by guest judges. All the selected works are also presented on the website.
This year’s festival will take place in several cities in Japan and overseas from November 2012 throughout 2013.

DOTMOV FESTIVAL 2012

SCHEDULE

11/01 – 11/03__Sapporo, ATTIC
11/01 – 12/30__Sapporo, CAI02
12/08 – 12/21__Sendai, book+cafe BOOOK (Tohoku University Cooperative)
11/16 – 11/28__Tokyo, TOKYO CULTUART by BEAMS
12/01 – 12/28__Shizuoka, CCC
11/07 – 01/29__Osaka, Umeda Hankyu Department Store
11/28 – 12/12__Osaka, digmeout ART&DINER
11/01 – 11/11__Kyoto, Cafe Independants
01/25 – 01/27__Fukuoka, konya-gallery
11/12 – 11/24__London, ICN Gallery Cafe
11/15 – 12/15__Bali, Celebrating Openness at Wisnu Open Space
12/01 – 11/00__Stockholm, Revenue S:t Eriksgatan 79
11/10 – 12/12__New York, Zakka
12/13 – 01/31__Los Angeles, Norbertellen Gallery
01/30 – 11/00__Melbourne, Federation Square
02/01 – 02/15__Sydney, Koskela’s store
02/02 – 11/00__Rio De Janeiro, TechArtLab at Bhering Factory
11/13 – 11/00__Kuala Lumpur, Design Weekend 2012
03/23 – 03/31__Kuala Lumpur, Visual Graphic Art festival
04/02 – 04/30__Shanghai, Q Italian & Wine

 

SCREENING PROGRAM　Click image to see movie.



  • Channeler
    05:20 | Japan | 2012
    Dir: Takashi Ohashi
    Composer: Yuri Habuka
    Mixer: Taro Ishida
    MC: Onipari
  • Takashi Ohashi’s “Channeler” is an intricate interplay between symbology, letterforms and character design driven by an original choreography. Using fluid transition and linkages, the artist unravels each personality with original and unexpected variation done by minimum amount of carefully chosen building blocks. Artfully laid-out sequences work as a whole, while they work on their own even down to the level of unique still portraits built by a limited amount of letters and marks. Minimal use of color and music helps the piece to be a bold and original statement.
    Selected and commented by Mirada


  • Android Porn
    (Mochipet Godzillaporn Remix)
    04:39 | Germany | 2010
    Dir: Andreas Kronbeck & Tobias Knipf
    Music: Kraddy
  • Simple clever pumping humorous visually mesmerising narratively engaging perfectly edited well paced upbeat fast tempo 2 colour 2 dimensional workout — what’s not to like about it. It rocks!
    Selected and commented by Ian Anderson (TDR)


  • Darn That Dream
    01:39 | Japan | 2012
    Dir: Kyu Shibayama
  • It’s always great to see good old hand drawn animations in digital experimental videos. This one particular makes me want to pick up a pen and start drawing.
    Selected and commented by Yoshi Sodeoka (c505)


  • Sync
    09:00 | UK/Denmark/Holland/Germany | 2010
    Dir: Max Hattler
    Sound: Dennis van Tilburg
  • In this film, the rotation produced intentionally, continues to repeat in the dark background by the computer-based program. It shows the circulation of the universe and life. Also, it depicts the rotational motion in the social and economic cycle, and history. We can also see, the presence of the central axis and rotation of a planet. The centripetal force trying to move to the center and the centrifugal force trying to move away from the center. Born, grow, and disappear then reappear, disappear. It is a great video to act in perfect harmony of the visual elements.
    Selected and commented by Hideki Inaba


  • Model Starship
    00:40 | UK/Germany | 2012
    Dir: Max Hattler
    Sound: Eduardo Noya Schreus
  • I selected Max Hattler’s new piece of abstract animation without the slightest hesitation as his brief but exquisite film Model Starship was strikingly different from other nominated films. According to what I have read on the artist’s website, the idea of a collaboration came about during the interview with a fashion magazine called Journal, which gave him a make-up bag full of autumn/winter 2012 products. Max Hattler came up with such astonishing images only using the luxury cosmetics in the bag from Givenchy, Laura Mercier, NARS, Shu Uemura, Shiseido and YSL. Turning the familiar products into something new and creating a scene that you could see in a sci-fi movie by filming using their shapes and materials, with images reflected from mirrors, was sensational. The artist was able to produce images that are vague and abstract but clear and concise at the same time as he went through the process of observing the products, imaging, and recognizing their patterns. I completely understand why he titled his art film A Very Brief Encounter with Another World. Bringing his imagination into action, he recreated the so-called secular ready-made products into an eye-catching art film. It gave me a refreshing jolt of the same kind as when Fontaine of Marcel Duchamp shocked the contemporary art world. Anyone who was disappointed to see the film end so soon can invest in Max Hattler for its longer version.
    Selected and commented by Ki Young Park (Sugarcube)


  • Vanish
    03:32 | Italy | 2012
    Dir: Daniel Schwarz
    Music: Davide Cairo
  • “Vanish” is a work which make you feel like you’re watching a digital fine art at a museum. Although the music is a little too solemn, there is a consistent line such as the flow line of the light, the camera works, reflection to the surface of the water in the construction of the whole concept, suggests the author’s sense of balance.
    It is simple, but uplifting. We can see the beauty no matter how many times we look at it.
    Selected and commented by Kenta Torimoto


  • Piece of Paper
    02:56 | Italy | 2012
    Dir: Daniel Schwarz
    Music: Amon Tobin
  • Looking over the 194 entries this year, this piece immediately stood out from the rest. Transcending ‘real’ and synthetic, Schwarz’s creative use of projection mapping, camera angles and slippery scene transitions bestows the projection mapping genre with a breath of fresh air. With a subtle visual narrative, it captures the essence of Amon Tobin’s ‘Piece of Paper’ without cramping the imagination, leaving ample space for both artists to perform in.
    Selected and commented by David Linderman


  • (Playing) The other cheek
    02:30 | France | 2012
    Dir: Frédérique Santune
    Misic: Chris Zabriskie
  • I remember the shock well when I listened to music on the Walkman for the first time. The music source was of course a cassette tape. Looking back now, the shock caused an action to listen to music via head phone. One of our five senses, auditory sense was intercepted from surroundings and the resolution is highlighted. I remembered when I was talking loudly without notice at that time because it was the new experience I never had before. This is an unforgettable experience at the time in my first grade of elementary school.
    When television broadcasting changed to high definition, make-up method have also changed because it shows even the texture of skin. In High Definition, the sponsor’s name marked on banners (in Japanese public broadcasting, ads are prohibited) can be identified clearly in broadcasting of professional sumo wrestling. Therefore camerawork of anti-advertising overviews the arena is losing their meaning now. I remembered that I was stunned at the resolution of the vision of high definition documentary TV show, “Satoyama” when I saw it.
    It is common that the technology updates our experience. The creators and the general audience tend to have an illusion of the content, but actually it is the experience that the technology updates clearly, not the content alone.
    The High-definition movie camera has becoming more common, and anyone can make a video “works” anytime. Also anyone can edit by themselves alone using the computers.
    The feature of this video work creates high definition beautiful images like in the film. It is impressive that the camera works by making the perfect image even we cut out in any point. In this film we can naturally see and feel the existence of the elements of the video work not only with the use of technology.
    Selected and commented by Jiro Ohashi
     

SUPPORTING MEDIA

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