Directing
Experimental animated film by Karen Yasinsky with music by Thank You
The artist breathes life into handmade dolls as she recreates a scene from Vigo’s L'Atalante.
An animation based on the beginning of the film L'Atalante by Jean Vigo.
Part 2 of No Place Like Home
An animated film inspired by all the strangeness and mystery surrounding Dorothy's predicament in the Wizard of Oz: what happened to her parents? Why has she no friends her own age? Why does her fantasy consist of all those middle aged farm hands?
The starting point for Audition was the movement of the stripper across the stage in the red light. I rotoscoped the scene and each frame is hand drawn pixels. Once I realized that the sound attached to the source scene was the impetus for the remembered image, the rest of the video revealed itself. Hand-drawn animation and digital video.
A character created over the time of animating the cobweb and thinking about Bix Beiderbecke's Mississippi Mud. Additional music by Andrew Bernstein with Gillian Waldo.
The film originated with thoughts on senseless violence, cultural observation and hypnotism. Many of the images are repurposed, related but unhinged from their original context
Marie is based on the main character in the film Au Hasard Balthazar by Robert Bresson. Music by Brahms, sound by Snacks (Tom Boram and Dan Breen).
For Dreaming the Dark: hands that see, eyes that touch, Ana Vaz invited artists and filmmakers whose work trust cinema’s capacity to transform relationships between the body and the camera to propose works that will engage with both perception and embodiment. Could cinema be an art of embodiment? By what rituals and actions could vision become tactile?
Boys is made with traditional stop motion puppet animation and flash animation. After rough play, two boys fall back into their beanbag chairs to be set upon by bugs. They enjoy this.
Three people in one emotional bubble encounter three dogs in the natural world.
A collage film slipping between narrative starts of images and sounds
From an animated spider's web to a bouncing ball in space, and from a Tarkovski image of a Russian horse to a close-up of Victoria Legrand, frontwoman of an American dream-pop band, Yasinsky excels in provoking simple, yet mysterious connections between live action and animation, forging a special realm between past and present.
The starting point was a still from the film Au Hasard Balthazar by Robert Bresson. From there, pure automatism.
I’m Not Your Monster is a hand-drawn animation composed of fragments rotoscoped from various films. It began with replacing Frankenstein’s monster with a person I know. The idea of fear creating violence inspired the project, coupled with ideas about the self, its construct and its relation to the body.
An internalized collage film which started with the found vacation film someone gave to me many years ago. The script I recorded for the film was resistant but the photographs of Man Ray, Paul Outerbridge and the soundtracks from Bruce Lee films attached themselves. Everyone wants to touch someone. (KY)
Images and sounds appear as suggestions and are revisited; clues dispersed. Debby waits in a room not really alone.
Radically deconstructive in its interpretation of a famous Tarkovsky-sequence, Yasinsky reverses the original order of the sequence and blends it with white noise and hand-drawn sequences. She also ties her act of appropriation in with a suicide scene from Bresson and other, more serene images and sounds.
Collaboration with Huck Hodge in honor of Galileo.
