October 22, Thursday 4.30 pm / MASTERCLASS WITH ANDREA MARTIGNONI (film screening and Q&A)
Andrea Martignoni was born in Bologna, Italy in 1961. He graduated in musicology with a thesis on soundtrack in animation and in geography with a thesis on soundscape. He is a performer, sound designer, animation historian, promoter and distributor of Italian animation. He has created soundtracks for numerous animated short films. He taught history of animation at the University of Fine Arts in Palermo, and at IULM University in Milan. He works closely with several international festivals doing master classes, workshops, and lectures on topics related to animation and soundtrack. He is often invited to international juries and selection committees throughout the world. He also carries workshops together with Basmati and Ottomani Cultural Association. With Paola Bristot, he curated “ANIMAZIONI”, a collection of three DVDs, about Contemporary Italian Animation between 2010 and 2014. He has won many awards, including the Golden Reiter for the best soundtrack at the 23rd edition of the International Short Film Festival FilmFest Dresden, and the Asifa Award Italy in 2010.
How did you end up working with solely animation soundtracks?
I started studying relationship between sound-music and short animation and experimental cinema for my graduation in Bologna’s University, focusing on Normand Roger’s work for short animations, mainly produced in Canada at NFB. After my graduation, I got a research fellowship and I spent one year in Canada. This allowed me to deepen my knowledge in this theoretical field. As soon as I got back to Italy, I started collaborations for the soundtracks of experimental films by Italian animators.
What do you think makes an animation soundtrack different to live action films?
Animators are creating worlds. Usually these worlds have no sounds, so the soundtrack is responsible for an important part to give life to animation with sounds.
I agree to what Normand Roger usually says: a good sound director in short animation is the one who is able to be at complete service of the film and its author, but at the same time he feels free in what he is doing. So it is not easy to recognize a “style” in soundtracks because soundtrack author has to changes his skin each time he is working for a new film or a new author.
Italian animation has its classics that we all know, including Osvaldo Cavandoli’s La Linea or Bruno Bozzetto’s popular films. What are the strengths of and trends in contemporary Italian animation?
Animation in Italy was not, and it is not only Cavandoli, Bozzetto, Gianini and Luzzati. Artist like Manfredo Manfredi between others had a big influence of a new generation of animators, who started working in the 90′s, like Gianluigi Toccafondo, Simona Mulazzani, Roberto Catani, Saul Saguatti. Having graduated from the School of Urbino and from Centro Sperimentale di Cinema in Torino, important artists begun producing wonderful films in the new millennium: Simone Massi, Magda Guidi, Virginia Mori, Beatrice Pucci, Alessia Travaglini, Donato Sansone. In the last ten years, the most important films were made by “free-lance” animators, like Blu or Igor Imhoff and Leonardo Carrano, whose art works give Italian productions an important space in the animation’s world.
Andrea Martignoni will screen and talk about the following films during his masterclass:
Fino • Blu (ITA • 2006 • 2’ 30”)
Big Bang Big Boom • Blu (ITA • 2010 • 10’)
Rivière au Tonnerre • Pierre HÉBERT (CAN • 2011 • 7’)
Absent Minded / La Testa tra le Nuvole • Roberto CATANI (ITA • 2013 • 8’)
Hunger • Petra ZLONOGA (HRV • 2014 • 6’)
Postindustrial • Boris PRAMATAROV (BUL • 2015 • 3’)
Hair-cut • Virginia MORI (FRA/ITA • 2015 • 6’)
San Laszlo VS Santa Maria Egiziaca / San Laszlo contro Santa Maria Egiziaca • Magda GUIDI (ITA • 2014 • 3’)