Mon Oct 8 | 8:30 pm
Jack H. Skirball Series
$10  [members $8]

Kathy Rose - Video/Performances:
Cathedral Of Emptiness & Interiosity
Long hailed for exploring mysterious inner worlds through pioneering integrations of live performance and projected film, video and animation, Kathy Rose presents two recent choreographic fantasies in which she appears live as a solitary figure, traversing lush and layered invented landscapes. Rose's surreal environments-adorned with forests of human arms, glistening waters, and floating moon faces-shape poetic alternate universes inspired by Noh theater. Rose has received numerous awards for her multimedia performances, and her early hand-drawn films, rightly considered classics of personal animation, are held by major museum collections worldwide. Also screening are Rose's videos She (2008), The Inn of Floating Imagery (2007), and excerpts of several other works.

In person: Kathy Rose

Funded in part with generous support from the Academy of Motion Picture Arts and Sciences. Curated by Steve Anker and Bérénice Reynaud

"Kathy Rose has pursued her singular vision of integrating film, animation and live performance throughout her career, and this has led her to create works of astonishing beauty and mystery." - Miriam Seidel, Art in America

"Kathy Rose offered moments of transcendent strangeness and visual wonder... Working with images projected on herself and other dancers, the New York-based Rose is evolving a highly individual performance voice that, I believe, is headed for greatness." - The Philadelphia Weekly

Mon Oct 15 | 8:30 pm
Jack H. Skirball Series
$10  [members $8]
Invisibilities:
Animated Films and Live Performance by Laura Heit

Using numerous animation techniques, puppetry and live-action video, Laura Heit's exquisitely crafted, subversively witty work makes visible hidden corners of the human psyche, where monsters, wolves and imaginary creatures tread. Look for Me (2005) employs 2D computer animation with monoprints, while The Deep Dark (2011) combines cutout stop-motion animation, live-action video and drawing to evoke elemental fears. The Amazing, Mysterious, and True Story of Mary Anning and Her Monsters (2003) calls on toy-theater puppetry and drawn animation to tell a fanciful tale. Collapse (2002), a reflection on a tragic moment, is a 2D computer animation with pastel drawings, and the allegorical Parachute (1997) a hand-painted and animated multiplane cutout. Heit's program concludes with a new version of the critically acclaimed Matchbox Shows in which she performs tiny puppet vignettes inside matchboxes.

In person: Laura Heit

Funded in part with generous support from the Academy of Motion Picture Arts and Sciences. Curated by Steve Anker and Bérénice Reynaud

"Laura Heit explores that symbol of wildness - the wolf - in the layered, animated The Deep Dark, revealing how a deep-seated fear of the woods affects our perception." - Serena Donadoni, Indiewire 

"The Matchbox Shows deftly reveal the big emotions lurking within seemingly tiny details." - Joel Del Signore, The Gothamist

"With childlike simplicity and arresting nonchalance, in The Matchbox Shows, Heit offers 30-second vignettes that make Mr. Bill seem positively Rococo." - Justin Hayford, Chicago Reader

Mon Oct 22 | 8:30 pm
Tue Oct 23 | 8:30 pm
Jack H. Skirball Series
$10  [members $8]

China Onscreen Biennial
Ripples of Time and Modernity
Co-presented with the UCLA Confucius Institute
The inaugural edition of the three-week bicoastal showcase of Chinese cinema brings two evenings of eye-opening animated and live-action film, respectively, to REDCAT. On October 22, the program "Animated, Golden and Restored" offers a rare glimpse at the luminous output of the "Twin Golden Ages of Shanghai animation" (1950s-60s and late 1970s-early 80s). Digitally restored by the China Film Archive, the shorts include Pigsy Eats Watermelon (1958), a vibrant paper-cut animation by the pioneering Wan brothers; Baby Tadpoles Look for Their Mother (1960), the first of the ink-wash masterpieces by ASIFA lifetime achievement honoree Te Wei; and, as a bonus, China's earliest extant animation, The Mouse and the Frog (1934), showing Disney and Fleischer influences. On October 23, Zhang Yuan, the best- known exponent of the post 1990s "Urban Generation" of Chinese filmmakers, presents Beijing Flickers (2012), an incisive yet lyrical exploration of the lives of young people "trying to make it" in the melting pot of social contradictions and hybrid cultural values that Beijing has become.  

In person: Zhang Yuan

"The Wan Brothers achieved... impressive feats. Cherished by both children and adults, their masterpieces brought major recognition for China in the field of animation." - Marie-Claire Quiquemelle, Centre Pompidou

"Te Wei is one of the best animation filmmakers in China." - Zhiwei Xiao

"Internationally acclaimed director and producer Zhang Yuan has become one of China's leading cinematic voices with his urban realist works." - Harvard Film Archive

The China Onscreen Biennial (COB) is presented by the UCLA Confucius Institute October 13-31 in partnership with REDCAT, the Academy of Motion Picture Arts and Sciences, the UCLA Film & Television Archive, etc. The program at REDCAT is curated by Cheng-Sim Lim, in collaboration with Bérénice Reynaud.

For more information, please visit: www.confucius.ucla.edu.

Fri Oct 26 | 8:00 pm & 10:00 pm
Sat Oct 27 | 2:00 pm, 4:00 pm, 6:00 pm & 8:00 pm
Sun Oct 28 | 2:00 pm, 4:00 pm & 8:00 pm
Jack H. Skirball Series
$10  [members $8]

Platform International Animation Festival
Held for the first time in Los Angeles, this edition of the acclaimed festival launched in Portland, Oregon in 2007, is also the first ever in which festival director Irene Kotlarz collaborates with a new generation of curators-drawn from CalArts' animation programs-to reflect the interests and tastes of young artists today. Over the course on one weekend, the festival offers highlights from the Annecy International Animation Festival, including Michaela Pavlátová's Grand Pix winner Tram (2012), experimental artist Stephen Irwin's Ottawa Grand Prix-winning Moxie (2011), and a host of films from the world's top animation schools. Other screenings celebrate 40 years of CalArts animation; the formative influence of MTV on the internet generation; rarely screened surrealist films by stop-motion pioneer Ladislaw Starewicz; and, finally, a program by internet sensation PES that includes his own The Deep (2011) and Michael Patterson's Commuter (1981).

Check back on September 1 for full program and screening information.

Funded in part with generous support from the Academy of Motion Picture Arts and Sciences. Curated by Irene Kotlarz, Jeanette Bonds, Sean Buckelew, Thalia Fry, Jess Moser and Melody Yenn.

With thanks to Platform Founding Sponsor Cartoon Network

"I congratulate the Platform Festival for expanding the landscape of animation with such innovative programming." - Joanna Priestley

"Ladislaw Starewicz is one of those cinemagicians whose name deserves to stand in film history beside those of Mélies, Emile Cohl and Disney." - Charles Ford

"Clicking on a PES film is to open a safe and suddenly see a million ideas glittering and exploding." - Michel Gondry

Mon Oct 29 | 8:30 pm
Jack H. Skirball Series
$10  [members $8]

Silent Mountains, Singing Oceans, And Slivers Of Time: 
Six Films By David Gatten  
Over the last 15 years, David Gatten has explored the intersection of the printed word and moving image with a depth and imagination unique to cinema. Making connections across fields of knowledge and meaning, Gatten's films generate tactile compositions and draw novel conclusions from 19th-century scientific treatises, "outdated" 20th-century instructional texts, and rare books from 17th- and 18th-century personal libraries. Gatten, a leading figure dedicated to mining 16mm film's continuing expressive possibilities in the digital era, was recently included in Cinema Scope's "Best Fifty Filmmakers Under Fifty." This program, Part 3 of a touring retrospective, consists of six films made between 1998 and 2010. Part 1 screens at the Velaslavasay Panorama on October 27 and Part 2 at Los Angeles Filmforum on October 28.

In person: David Gatten

Funded in part with generous support from the Academy of Motion Picture Arts and Sciences. Curated by Steve Anker and Bérénice Reynaud

"Gatten continues to find new creative possibilities in the continuing premonitions of film's demise." - Scott MacDonald, The Garden in the Machine

"The films of David Gatten brand the brain and the retina with equal force. They consist partly of cerebral puzzles and partly of lyrical reveries, and their central drama lies in the space between, where facts transform into poetry and transient experiences are assimilated into systems of knowledge." - Tom McCormack, Moving Image Source

"One of the most singular and focused bodies of film being produced today." - Chris Stults, Wexner Center for the Arts