Animals

Jessie Mott & Steve Reinke, A Day for Cake and Accidents

A Day for Cake and Accidents features a cast of animal characters -- each of a different, though often indeterminate, species -- who struggle with impending astrological despair and engage in absurdist dialogs, confessing various melancholic desires and transgressive secrets in poetic cartoon abjection..

A Day for Cake and Accidents is the third in a series of short collaborative animations.

Ameising 1

Ant paths sketch a fading pheromonal portrait of a colony.

This title is only available on Soft Science.

 

American Psycho(drama): Sigmund Freud vs. Henry Ford

This humorous selection of performance-oriented videos maps a trajectory between consumer society and psychoanalytic confession. HalfLifers perform two rescue missions using colored snack food and everyday objects as means towards transcendence. In The Horror, Emily Breer and Joe Gibbons recuperate Coppola’s Apocalypse Now as a day at the beach. Gibbons’s solo work Multiple Barbie features the artist as a smooth-talking psychoanalyst, gently attempting to fuse the mute doll’s shattered plastic psyche.

Ani(fe)mal(e)

Woman, monster, animal? A portrait of a woman's face, the movement slowed down and reversed, the grotesquely made-up face examined in close-up.

Animal Attraction

Animal Attraction is a documentary about the relationship between people and animals that questions the way we project our hopes and desires onto our pets, and ascribe human qualities and attributes to their gestures. The video was inspired by the plight of the filmmaker who was frustrated by the obnoxious behavior of her cat, Ernie. As a last resort, she gave in to a friend's suggestion to contact an animal communicator. This is her journey with interspecies telepathic communicator, Dawn Hayman, from Spring Farm CARES, an animal sanctuary in upstate New York.

Animal Charm Videoworks: Volume 1

This compilation is a fresh, witty, and compelling addition to video’s rich legacy of media deconstruction. Through appropriation and reassemblage, these intriguing works upset the hypnotic spectacle of TV viewing by displacing its logic and forcing viewers to make new connections among its codes and conventions. While this disruption is playful, it also reveals the tragic underbelly of corporate message-making—the way it appropriates and suppresses nature and "unpredictability," the way it preys on human vulnerability, and the way it shamelessly celebrates mediocrity and distraction.

Peer Bode, Animal Migrations (and why they don't get lost)

"This is the first of a set of pieces that involve combining a series of electronic video process recordings, musics, texts and appropriated materials. These multiple elements, simple and tricky grammars, trigger expanding electronic narratives. The trajectories and drags of multiple narratives color the electronics and visa a versa.

Animal-Cams

"I just can't resist trying to empathize with animals and plants.  I think that in the process of attempting to learn what it's like to be an animal or plant, I learn more about what it means to be human."
--Sam Easterson

Aquarium, The

Filmed primarily in Alaska, The Aquarium contrasts the openness of the primeval Arctic landscape with the entrapment of captured sea mammals in aquariums. It speaks of the progressive destruction of these animals’ habitat, seeing beyond the alluring spectacle.

Blood & Cinnamon

In Blood & Cinnamon Mott’s creatures discuss existential crises as they flip and rotate and disappear from view.

--F News Magazine, December, 2010

Sam Easterson, Burrow-Cams

Burrow-Cams features footage from cameras that have been placed inside underground animal habitats (dens, burrows, etc.). Animals showcased include: burrowing owl, black-footed ferret, porcupine, badger, prairie vole, swift fox, deer mouse, and black tailed prairie dog.

Camel with Window Memory

"The Camel with Window Memory piece was made one weekend in the early '80's. I pulled out my post card collection and began to look at specific postcards run through the new digital video buffer I had built together with David Jones. The buffer had only one frame of memory but it was real time. It had the capability of displaying the image memory space, either as live or frozen.

Videofreex, Chicken Dinner

The Videofreex tape a group of young people working on a farm run by Chris Locke and his wife in Shandaken, NY.  After learning how to take care of the chickens, they are taught how to kill and pluck one.  Later they sit down for a communal dinner, and one of the group exclaims "Mmmmm, tastes good!"

 

Elegy

It’s the first day of autumn, and Gibbons can already smell death in the air. Leading us and his dog Woody on a walk through a cemetery, Gibbons voices his obsessive thoughts of death and destruction saying, “I want to be a leaf; I want to fall from a great height and crush whatever I land on.” Waxing weirdly philosophical, Gibbons satirically tries to impress the concept of mortality on his dog; the video, shot in Pixelvision, approximates his dog’s black-and-white vision.

Everybody

Animals debate the sticky subject of body dysmorphia and the merits of reconstructive surgery in this short animation.  

"Jessie Mott wrote the script for this, recorded the voices and made the drawings.  I constructed the soundtrack and animated her drawings."
--Steve Reinke