Retrospektiva Georges Schwizgebel / Georges Schwizgebel Retrospective

IKARJEV LET / LE VOL D'ICARE / THE FLIGHT OF ICARUS
Georges Schwizgebel (Studio GDS)
Å vica/Switzerland, 1974, 35mm, 3'

Pointilistična glasbena ilustracija mita o Ikarju, ki je želel oponašati ptice, dokler se mu niso zaradi sonca stopila krila.

A pointillist musical illustration of the tale of Icarus wishing to imitate the birds right up to burning his wings close to the sun.

PERSPEKTIVE / PERSPECTIVES
Georges Schwizgebel (Studio GDS)
Å vica/Switzerland, 1975, 35mm, 1'30

Postavitev človekove hoje v perspektivo. Zorni koti zahtevajo od gledalca stalno spreminjanje perspektive. Izgublja se v geometriji, naslikani z močnimi potegi čopiča.

The putting into perspective of a person walking. The points of view oblige one to make reversals of perspective, losing the viewer in a geometry brushed in large
strokes.

OFSAJD / HORS-JEU / OFF-SIDE
Georges Schwizgebel (Studio GDS)
Å vica/Switzerland, 1977, 35mm, 6',

Opis igre, v kateri eno izmed moštev spreminja pravila v svojo korist. Film naniza različne športe. Igralci, katerih podobe so naslikane, kot bi jih obsijala nizka svetloba, prehajajo med disciplinami skozi postopne preobrazbe.

Description of a game in which one of the two teams changes the rules to its advantage. Several sports are mentioned in the film, the players, whose painting suggests a low-angled light, move from one sport to another via successive
metamorphoses.

ZAMAKNJENJE FRANKA N. STEINA / LE RAVISSEMENT DE FRANK N. STEIN / THE RAVISHING OF FRANK N. STEIN
Georges Schwizgebel (Studio GDS)
Å vica/Switzerland, 1982, 35mm, 9'30

Počasna gradnja podobe ob ritmu korakov končno pripelje do srečanja pošasti in njegove zaročenke. Gledalec je prek subjektivnega pogleda postavljen v vlogo kreature, s katero potuje skozi sobane, polne predmetov in bitij, dokler ne prispe pred obličje svoje drage in ta v grozi zakriči.

The slow construction of an image, to a rhythm of footsteps, ends with the meeting of the monster and his fiancée. Using a subjective vision, the viewer is literally in the
position of the monster and crosses several rooms filled with objects and beings along the line of progression until emerging into the face of the loved one who lets off a cry of horror.

78 OBRATOV / 78 TOURS / 78 R.P.M.
Georges Schwizgebel (Studio GDS)
Å vica/Switzerland, 1985, 35mm, 4'

Izmenična uporaba subjektivnega snemanja in statične kamere po ritmu harmonike prikliče kratko zgodbo o toku časa. Celoten film temelji na grafičnem konceptu krogov in obročev. Od skodelice kave do otroških igric in spiralnih stopnišč. V skladu s splošno estetiko filma se vrti tudi sama kamera.   

A subjective camera and a fixed framing alternate to an accordion waltz which triggers a short story recalling the passing of time. The entire film is based on the graphic notion of circles and rings. From the cup of coffee to the children's games passing through a spiral staircase. The camera itself whirls round following the general aesthetics.

NAKOUNINE
Georges Schwizgebel (Télévision Suisse Romande)
Å vica/Switzerland, 1986, 16mm (BetaSP), 6'

Kolesarsko popotovanje po ulicah Å anghaja med zimo in poletjem ter med centrom in predmestjem. Nekaj diskretnih animacij oživlja statične podobe s pomočjo dodajanja celuloida na fotografije neposredno pod kamero.

A bicycle trip through the streets of Shanghai between winter and summer, from the suburbs to the city centre. Some animations, discreet ones, are added to
bring to life the still images by adding cellulose to the photos under the caption stand.

PREDMET SLIKE / LE SUJET DU TABLEAU / THE SUBJECT OF THE PICTURE
Georges Schwizgebel (Studio GDS)
Å vica/Switzerland, 1989, 35mm, 6'10

Po zaslugi slikarja, starec ponovno odkrije svojo mladost. Gre za adaptacijo mita o Faustu, v kateri vražji slikar vodi protagonista in z njim manipulira. Film hkratno uporablja tehnike neposrednega slikanja pred kamero, slikanja na celuloidni trak (Schwizgeblova običajna tehnika) in animacije na magnetni papir. 

Thanks to the painter brushing his portrait, an old man rediscovers his youth. This is an adaptation of the myth of Faust, the character being guided, manipulated by the devilish painter. The film makes simultaneous use of direct painting under the camera, painting on cellulose (the customary technique of Georges Schwizgebel) and animations on magnetised cut paper.

POT V BREZNO / LA COURSE À L'ABÎME / THE RIDE TO THE ABYSS
Georges Schwizgebel (Studio GDS)
Å vica/Switzerland, 1992, 35mm, 4'30

V povprečnem intervalu šestih sekund animirana slika upodobi delček opere. Avtor si je zamislil način, kako narediti razmeroma dolg film z uporabo pičlih 144 risb. Teh 144 ogromnih slik na celuloidu vidimo le delno, prek gibanja kamere, ki v spiralah potuje od robov do središča slike in postopno razkriva ozadje, dokler ne odkrije umetnine v celoti.

At an average cycle of six seconds, an animated painting illustrates a fragment of an opera. The idea of the film was to use just 144 drawings for a fairly long film, the
144 immense cellulose drawings are seen only partially via a camera movement travelling spirally from the edges to the centre, finally to discover the entire scene and to unveil the artifice.

LETO DAMJAKA / L'ANNÉE DU DAIM / THE YEAR OF THE DEER        
Georges Schwizgebel (Télévision Suisse Romande/La sept Arte)
Å vica, Francija/Switzerland, France, 1995, 35mm, 5'15

Tragična zgodba mladega damjaka, ki ga zavede varljivi videz. Vizualen, izjemno izpoveden in dodelan film črpa iz razpoloženjske motivike štirih letnih časov, ki sovpadajo s štirimi glasbenimi ritmi. Film je narejen s slikanjem na acetatni filmski trak in pastelno animacijo na steklenem papirju.

The tragic destiny of a young deer deceived by appearances. The visual, very illustrative and polished film is inspired by the atmospheres of the 4 seasons corresponding to the 4 musical movements. The film is made up not solely of painted
cellulose but also of pastel animations on glass paper.

CIK CAK / ZIG ZAG
Georges Schwizgebel (Galerie Papiers Gras)
Å vica/Switzerland, 1996, 35mm, 0'36

Cikcakasto potovanje so navdihnile risbe Rodolpha Töpfferja. Film naj bi bil predvajan s kontinuiranim ponavljanjem, saj sta prva in zadnja slika identični. V celoti je ustvarjen s pastelno tehniko na steklenem papirju. 

A zigzag journey inspired by the drawings of Rodolphe Töpffer. The film is designed to be shown continuously with the first and last images being identical. The film is produced entirely as pastel animation on glass paper.

FUGA / FUGUE
Georges Schwizgebel (Studio GDS/Télévision Suisse Romande)
Å vica/Switzerland, 1998, 35mm, 7'12

Dremajoč človek v hotelski sobi se prepusti vdoru spominov, ki predstavljajo pobeg v podobi risbe. Gre za enega najbolj kompleksnih avtorjevih filmov. Zaradi uporabe živih barv, kontrapunkta med prepletenimi slikami, animacije nemogočih geometričnih likov in sodobne glasbene podlage je to eden najboljših in najzanimivejših filmov avtorjevega opusa.

A person dozing in a hotel room allows himself to be invaded by memories which form an escape expressed in drawings. The film is one of the most complex by Georges Schwizgebel. The use of vivid colours, the counterpoint of the interwoven images, the animation of impossible geometric figures combined with a contemporary sound tape make this film one of the best and most interesting in the author's filmography.

DEKLICA IN OBLAKI / LA JEUNE FILLE ET LES NUAGES / THE YOUNG GIRL AND THE CLOUDS
Georges Schwizgebel (Studio GDS/Télévision Suisse Romande/Arte France)
Å vica, Francija/Switzerland, France, 2000, 35mm, 4'30

Posodobljena pravljica o Pepelki, v kateri ta sanja o oblakih, nato pa s princem pobegneta z letalom. Prepletajo se animacije na filmskem traku in steklenem papirju. Podobo avtor animira sočasno pri različnih hitrostih (ozadja, dinamični elementi, liki) glede na zvočno ozadje klavirske glasbe, ki jo izvaja Schwizgebel sam. Gre za domiselno variacijo znane pravljice, s katero se gledalec lahko poistoveti.

The story of Cinderella is modernised. Cinderella dreams of clouds and ends up fleeing by plane with her Prince Charming. The image is animated simultaneously at various speeds (decor, moving elements, characters) in connection with the sound tape played by Georges Schwizgebel on the piano. It is an intelligent variation on a well-known story with which the viewer can identify.

ČLOVEK BREZ SENCE /L'HOMME SANS OMBRE / THE MAN WITHOUT A SHADOW
Georges Schwizgebel (Studio GDS/Télévision Suisse Romande/NFB)
Å vica, Kanada/Switzerland, Canada, 2004, 35mm, 9'35

Mož zamenja senco za bogastvo. Na njegovo razočaranje pa so to le čudežni škornji. Film izkoristi prednosti produkcije Kanadskega filmskega sklada z uporabo bogatih zvočnih učinkov. Schwizgebel ustvari skrivnostno vzdušje s pomočjo enega najdaljših in najlepših uvodnih posnetkov v svoji karieri. Uporaba preobrazb omogoča semantične bližnjice v pripovedovanju zgodbe.

A man exchanges his shadow for richness. Disillusioned, he has to be content with seven-league boots. The film benefits from the quality of the production by the NFB with rich sound effects. Schwizgebel installs the mysterious atmosphere with one of the longest and most beautiful opening sequences of his career. The use of metamorphoses makes it possible to carry out semantic shortcuts in order to deliver the story.

IGRA / JEU / PLAY
Georges Schwizgebel (Studio GDS/Télévision Suisse Romande/NFB)
Å vica, Kanada/Switzerland, Canada, 2006, 35mm, 3'50

Od podrobnega uvoda v začetek filma do strogega zapisa besede KONEC film z neprekinjenim tekom, polnim presenečenj, ustvarja čudovito vrtoglavo naglico. Besen dir proti končni negibnosti je metafora sodobnega nemira, ilustracija sveta, ustvarjena s sosledjem oblik, ki se ves čas izkrivljajo v vrteči se in igrivi koreografiji, da bi vedno znova prevarale naše čute.

From the detailed account announcing the beginning to the rigid appearance of the word END, Jeu provokes a magnificent vertigo with its uninterrupted running, full of surprises. A furious race towards final immobilisation, like a metaphor of modern restlessness, the illustration of a world resting on a succession of forms which become distorted to deceive the senses again and again in a pirouetting and playful choreography.

RETUÅ E / RETOUCHES
Georges Schwizgebel (Studio GDS/Télévision Suisse Romande/NFB/Arte)
Å vica, Kanada, Francija/Switzerland, Canada, France, 2008, 35mm, 5'35''

Animirane slike spreminjajo druga drugo med ritmom valov in dihanjem spečega dekleta.

Between a wave's rhythm and the breath of a young woman in her sleep, some animated paintings go on modifying each other.