Animated Fairy Tales Get A Real World Edge At 'Animation Reimagined' (Modern Eden Gallery)

Mulan - Olga Esther

Curated by Michael Cuffe of Warholian, the 'Animation Reimagined' exhibition will bring together many animated classic icons - both past and modern-day - "fantastically recreated in new paintings and from new perspectives". While there are more than just fairy tale characters, we're focusing on those that are most closely linked to our favorite subject here. (We've included a list at the end of the post with all the other cartoon characters we've been able to discover - and identify - to date.)

Official poster, featuring a reimagining of Dumbo (artist unknown)

Cuffe has asked all artists to bring a bit of realism into their paintings and works. We will see these animated classics re-imagined in a way we’ve never seen before, from a unique artistic viewpoint.

It's always interesting to see what sort of spin artists will put on animated icons, especially fairy tales. These paintings and sculptures belong in the 'fine art' realm, though at a glance it may be easy to dismiss some of these as 'professional fan art'. They all, however, share the intent to bring some realism - and real-world consideration - to their interpretations of flat cartoons and animated characters. The idea is to take them beyond the realm of the "safe" screen and have them "intrude" on ours, creating a response in the viewer. From the selection we've been able to find scattered around social media corners, the achievement is quite impressive. We hope to see more/better quality images, once the show is opened to the public today (Saturday, April 14, 2018) and the Gallery puts the collection online.

In the meantime, enjoy! (We've included artist's titles, comments, and statements where they were available.)

Alice In Wonderland (2018) - Brianna Angelakis

"Frozen in Time" - Ania Tomicka

“The Young Goddess Artemis” - Richard J Oliver
I went to the source of what I believe inspired the character
of a well known Disney’s Animation. For a while I’ve been wanting to
make a painting based on DIANA (Roman Goddess)
or ARTEMIS (Greek Goddess) of Hunting and nature. After
some research the similarities between these
Goddess’ and the princess character Merida
were uncanny so I drew my inspiration from the mythical
daughter of Zeus.

Kiki's Delivery Service - Carly Janine Mazur

Ratatouille - Richard Ahnert

Pinocchio - Hanna Jaeun

"Bibbedi bobbidi boo" (Cinderella) - Anne Angelshaug
As a child I adored the story of Cinderella, but rewatching it
as an adult it conjured very different thoughts and feelings.
Thoughts of abuse, apathy and delusion....
sorry I took it to a dark place, but it just seemed right...

The Little Mermaid  - Meredith Marsone
"This (is a close-up of) a painting of The Little Mermaid just after
the point of her transformation, still underwater, but human now and
so in imminent danger in the place she used to call home."

Sleeping Beauty - Sheri DeBow 

“Guardian” - Lena Danya
The Little Mermaid Meets Marlin and Dory from Finding Nemo

Sometimes Ups Outnumber the Downs - Jessica Dalva
"My sculpture based on Disney’s Robin Hood."

"The Strands the Bind" - Stephanie Pui Mun Law (The Fox and the Hound) 

There are many more cartoon classics reimagined, of course, these are just the most fairy tale related of those revealed (whether in close-up or as finished pieces). Others include Mickey Mouse, Felix the Cat, Sponge Bob, The Aristocats, Jack and Sally from The Nightmare Before Christmas, Lady and the Tramp, Frankenweenie, Pink Panther, Coco, Jessica Rabbit, Betty Boop, Toy Story, Gumby, Sailor Moon, Bambi, She-Ra and more.

The exhibition is free to the public and opens today, Saturday April 14, 2018, at The Modern Eden Gallery in San Francisco.

Exhibition Dates: April 14–May 4, 2018

Opening Reception: April 14, 2018  6 pm–9 pm

Featuring the artwork of Adam Hunter Caldwell, Alec Huxley, Amanda Banker, Amy Mastrine, Ania Tomicka, Anne Angelshaug, Aunia Kahn, Brianna Angelakis, Carly Janine Mazur, Catherine Moore, Chris Leib, Christina Ridgeway, Daniel J Valadez, David Natale, Glenn Arthur, Hanna Jaeun, Hikari Shimoda, Jacyln Alderete, Jessica Dalva, Joshua Coffy, Julie Filipenko, Kathrin Longhurst, Lee Harvey Roswell, Leegan Koo, Leilani Bustamante, Luke Allsbrook, Marcos LaFarga, Marie Larkin, Marjolein Caljouw, Mark Bryan, Meredith Marsone, Michael Cuffe, Nathalia Suellen, Nick Stathopoulos, Olga Esther, Rachael Bridge, Rachel Silva, Raúl Guerra, Rene Cuvos, Rich Pellegrino, Richard Ahnert, Richard J Oliver, Robert Bowen, Sarah McCloskey, Sheri DeBow, Simona Candini, Stephanie Law, Steve Javiel, Susannah Martin, Susanne Apgar, Sybiline , and Zelyss.

Obituary: Isao Takahata, Animation Master & Creator of 'Princess Kaguya' Has Passed

I won't forget you. Thank you for the stories, Isao Takahata. (Tribute art by Trungles)

We were very sad to learn of the passing of Animation Master Isao Takahata today (Thursday, April 5, 2018).

May your spirit be free and have peace Takahata-sensei*.

Takahata was best known for his heart wrenching, and beautiful film Grave of the Fireflies, and of course, the Oscar-nominated The Tale of the Princess Kaguya, though many of his other films (eg. My Neighbors the Yamadas**, Only Yesterday, Pom Poko) prove him worthy of the title of Animation Master as well.

Our Fairy Tale News Hound, Gypsy, was introduced to his (and Miyazaki's) work at a very young age without even realizing it, through the TV series Heidi - A Girl of the Alps, while she was in Latin America. Takahata was the director, as well as a storyboard artist for the series. He eventually made a Heidi movie too, though the series holds a dear place to Gypsy as the beginnings of that magic Ghibli touch can be seen even then.

After Heidi and some other early films, Takahata became the co-founder of the beloved Studio Ghibli, always pushing the medium of animation as an art form and defying tradition as a true artist does - something clearly present in Princess Kaguya.

"I want to make sure that we don’t forget the great power of paintings drawn by lines on paper to stir our imaginations and memories." (Isao Takahata 2015)

Takahata also had revolutionary ideas about his Princess Kaguya too, something which we will be eternally grateful for in portraying this complex view of the Japanese princess of legend:

An adaptation of a Japanese folk tale about a mysterious princess discovered in a glowing bamboo tree, the Oscar-nominated film follows the princess as she struggles to free herself from both the demeaning customs of a patriarchal society, and the insatiable men who want to control her.  

“I have sought to refrain from projecting onto the young girls who are my main characters any wishful thinking from the male point of view about how women should behave,” Takahata tells us via email. “I also like to put myself in a women’s position as much as I can and think about things. Despite being a man, I love vibrant women, not only to fall in love with, but as friends and human beings.” And Princess Kaguya is certainly a human being. Not only does she cheekily relish the opportunity to set the men vying for her hand in marriage impossible challenges, but she hates the way men talk about her behind her back at her naming ceremony, and her emotions suddenly rush to the surface. 

Takahata uses the scrappy visual style to reflect these emotions in a way that wouldn't be possible in a more traditional animated film. “Rather than paintings that declare ‘I am the real thing’,” he says of his choice of style, “I prefer paintings that say ‘As you can see, I am not the real thing, but please use me as a means to imagine or remember in a vivid way the real thing that is behind me’.” 

“My intent was to have the viewers be there at the moment when the sketches were being drawn and to have them share in the emotions,” he continues. “I want to make sure that we don't forget the great power of paintings drawn by lines on paper to stir our imaginations and memories.”  

(Interview with Takahata by DazedDigital, during promotion for The Academy Awards, 2015)

We know Takahata still had many plans for projects and stories he wished to tell on film and look forward to seeing what those ideas were, when the family feels able to release them. Even without reaching their final form of a finished film, we know there is still wonder to discover, as seen through his eyes and mind. (He told reporters in 2016 he had a few he was working on simultaneously.)

His love of the history, cultures and tales of Japan always came through in his work and he will be sorely missed, not only in his home country, but in the world over.

Takahata reportedly had some heart issues recently, but even with the wealth of his artistry, his many amazing and multi-award winning films, and his work having been recognized globally, his passing is too soon, especially for a storyteller.

He was only 82 and will be greatly missed.

“Why must fireflies die so young?” — Grave of the Fireflies

(Isao Takahata 1935-2018)

*Here we are using the Japanese honorific 'sensei', to denote the respect we have for him as artist, teacher and recognized expert in his field of storytelling and animation filmmaking.

** In Takahata's 1999 film, My Neighbors the Yamadas, the birth of the Yamada’s second child, Nonoko, is rendered as a scene from the classic story of the Princess Kaguya, who was found in a bamboo stalk. Princess Kaguya was released in Japan in 2013.

GKids Studio Ghibli Fest 2017!

In case you're not aware of it's slid under your radar, don't forget GKids current Studio Ghibli Fest, showing classic Studio Ghibli films in theaters around the US during 2017! 

Studio Ghibli is known for their children's fairy tale/ fantasy films that do, indeed, fit our genre very well. The storytelling is different to Western fairy tales, of course, but is still very accessible to kids of all ages and highly recommended.

You may think: "But I've seen all these, more than once. What's the point?" The answer is that the experience is entirely different on the big screen  - an opportunity that comes along quite rarely - and worth the price of entry.

The showings take place over two days: the first day with English dubbing and the second day with Japanese audio and English subtitles. (We recommend viewing with the original audio and subtitles! It makes a huge difference and both kids who can read and those who can't love the original audio versions too.)

We took the Fairy Tale News Room Little League to go watch 'My Neighbor Totoro' (in Japanese with English subtitles), at the end of June, and are more convinced than ever that this should be considered a fairy tale film and a must-see for children the globe over. All the kids knew the movie so well they thought they'd be bored seeing 'this little kids movie', but came out proclaiming this movie "the best ever!" and back on top of their favorites list ("...the Japanese version!").

Other films coming up are: 

Kiki's Delivery Service - July 23, 24

(If you haven't seen this lovely, magical film, do yourself and kids you know a favor and go see it)

Castle in the Sky - August 27, 28

(A robot in a fairy tale? Yep. Expect to fall in love with him...)

Nausicaä of the Valley of the Wind - September 24, 25

(a wonderful eco-sci-fi-fairy tale kids love)

Spirited Away - October 29, 30

(perfect for uplifting Halloween viewing!)

Howl's Moving Castle - November 26, 27

(with Miyazaki's version of Baba Yaga's hut - sort of.)

See you at the movies!

'Mary and The Witch's Flower' Opens in Japan to Great Acclaim & Thumbs Up by Miyazaki

You may not have heard of this new film that has a serious Studio Ghibli vibe, but take a look at why you want this one on your radar!

We've included the three trailers so you can see a range of the goodies awaiting - all three are worth watching for a different perspective on the film:

'Mary and The Witch's Flower' is based on the 1971 English children's novel by Mary Stewart (yes, that Mary Stewart!), 'The Little Broomstick' and is considered a simple 'proto-Harry Potter' type of story. The movie itself shows a lot of Ghibli-like magic, style and Miyazaki-ish imagination, even as it pays close attention to it's source material.

The story is based off a very short novel. The greatest strength of the original story was its vivid and lyrical descriptions, making the world it takes place in feel very tangible despite the brevity of its plot. This same quality is on display in the film, too, which succeeds more because of its attention to detail than anything else. Even brief asides in the novel like “The little broomstick gave a leap, a violent twist, a kick like the kick of a pony” are faithfully recreated in visual form. (Animenewsnetwork)

Here's a brief introduction to the novel, taken from a non-spoilery review:

‘Nothing, thought Mary, nothing could ever happen here’ ‘Everywhere was damp, and decay, and the end of summer’; but then a small black green-eyed cat appears, and adventure and magic begin.
The cat leads Mary to a clump of unusual purple flowers that she shows to Zebedee the gardener at Red Manor, who names both the cat (Tib) and the blooms (fly-by-night). Zebedee also tells Mary of the folklore surrounding the flower , including: ‘And ’tis said that in the olden days the witches sought her [the flower] from the corners of the Black Mountains, and from the place where the old city was and there’s now naught but a pool o’ water’. 

...While sweeping up leaves with a small broom, Mary accidentally smears the broom in the juice of a fly-by-night flower. Immediately, ‘the little broomstick gave a leap, a violent twist, a kick like the kick of a pony’ and Mary and Tib are transported by flying broomstick to Endor College, school of witchcraft. Endor is no Hogwarts: Madam Mumblechook believes that Mary has come to enrol at the school to learn skills such as ‘Turning milk sour, blighting turnips, making the cows go dry’. The ill-wishing of the spells is underlined by the sourness of the rhymes used in the spells: nursery-rhymes that ‘slipped somehow, so that the result was not ordinary, or even nice at all.’ But then Mary makes a sinister discovery about animals that have been ‘transformed’ and begins to wonder if she will be allowed to leave Endor. She does manage to return to Red Manor, only to find that the cat Tib has been kept captive at the College. 

True to the spirit of a Mary Stewart heroine, Mary decides to go back to rescue Tib, which leads to further adventure and dangers as Mary releases all of the animals, breaks the transformation spell and flees Endor College. (extracted from a review at MaryStewartReading)

We recommend reading the whole review for a good overview of the book and it's themes in context of today. What Studio Ponoc does with those themes and ideas, we've yet to see, of course, but it's intriguing to have this as background.

The new studio producing 'Mary and The Witch's Flower', Studio Ponoc, is being considered "the new Studio Ghibli" - or, more accurately "Studio Ghibli 2.0". 

As Miyazaki slips out of retirement (for the sixth?? time) to finish another short film, 'Boro the Caterpillar' for the exclusive Ghibli Museum theater presentations, it's clear that even with blessed longevity, he can't keep un-retiring forever, and speculation mounts as to 'who will be the new Miyazaki?'. (Answer: no one!)

Director of 'Mary and The Witch's Flower', Hiromasa Yonebayashi (director of 'Arriety' and 'When Marnie Was There') is considered a protegé of Miyazaki with this being his third feature film (and his first since leaving Studio Ghibli). Miyazaki - a notoriously critical director - has officially given it his thumbs-up, which is a huge deal. While no one will ever 'do Miyazaki like Miyazaki', Yonebayashi is certain to do his legacy proud at the very least and we can look forward to more of this unique type of storytelling and animation magic in the future.

Distribution update from Crunchyroll on July 13, 2017:

After a modest opening in theaters in Japan on July 08, 2017, Mary and the Witch's Flower will be casting its spell with an expanded theatrical release that will include some 155 territories worldwide, including the United States, England, France, Australia, China, and South Korea. The film will also see distribution in South America, Africa, and the Middle East.

Yes! We are doubly-excited now!