{"markup":"\u003C?xml version=\u00221.0\u0022 encoding=\u0022UTF-8\u0022 ?\u003E\n    \u003Chtml version=\u0022HTML+RDFa+MathML 1.1\u0022\n    xmlns:content=\u0022http:\/\/purl.org\/rss\/1.0\/modules\/content\/\u0022\n    xmlns:dc=\u0022http:\/\/purl.org\/dc\/terms\/\u0022\n    xmlns:foaf=\u0022http:\/\/xmlns.com\/foaf\/0.1\/\u0022\n    xmlns:og=\u0022http:\/\/ogp.me\/ns#\u0022\n    xmlns:rdfs=\u0022http:\/\/www.w3.org\/2000\/01\/rdf-schema#\u0022\n    xmlns:sioc=\u0022http:\/\/rdfs.org\/sioc\/ns#\u0022\n    xmlns:sioct=\u0022http:\/\/rdfs.org\/sioc\/types#\u0022\n    xmlns:skos=\u0022http:\/\/www.w3.org\/2004\/02\/skos\/core#\u0022\n    xmlns:xsd=\u0022http:\/\/www.w3.org\/2001\/XMLSchema#\u0022\n    xmlns:mml=\u0022http:\/\/www.w3.org\/1998\/Math\/MathML\u0022\u003E\n  \u003Chead\u003E\u003Cscript\u003E\n\u003C!--\/\/--\u003E\u003C![CDATA[\/\/\u003E\u003C!--\njQuery.extend(Drupal.settings, {\u0022basePath\u0022:\u0022\\\/site\\\/\u0022,\u0022pathPrefix\u0022:\u0022en\\\/\u0022,\u0022setHasJsCookie\u0022:0,\u0022field_group\u0022:{\u0022hidden\u0022:\u0022full\u0022},\u0022ajaxPageState\u0022:{\u0022js\u0022:{\u0022sites\\\/all\\\/libraries\\\/jquery-focuspoint\\\/js\\\/jquery.focuspoint.min.js\u0022:1,\u0022sites\\\/all\\\/modules\\\/field_group\\\/field_group.js\u0022:1}}});\n\/\/--\u003E\u003C!]]\u003E\n\u003C\/script\u003E\n\u003Cscript src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/advagg_js\/js__OoSVGe59A5vEr_Q8WbDSyFzbnGhy67AvEk1Dt4WQ4mc__avvfGLSi1OXpILN3vu2rqILFNkWom4aVBbb2dR6Gz5g__BYJ_raMsbqFpF1SIDoJghyU-ouurldty3Wm9_bVOXTQ.js\u0022\u003E\u003C\/script\u003E\n\u003Cscript src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/advagg_js\/js__mj2TlWhks9oJxPMS-NZeTpU46WwFVlMGEIo6S9H_Qx8__BsaKROlqVoH1U-25O4BHSOvj0FOd9mpaW6cDEgy8HfE__BYJ_raMsbqFpF1SIDoJghyU-ouurldty3Wm9_bVOXTQ.js\u0022\u003E\u003C\/script\u003E\n\u003Cnoscript id=\u0022advagg_loadcss_0\u0022\u003E\n\u003Clink type=\u0022text\/css\u0022 rel=\u0022stylesheet\u0022 href=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/advagg_css\/css__RviKndHbuvjkxKlPZ8_QxqI8OCl99KOh1w0yQDxs7Jk__ZfZydszBKQmlThqBMtwMGAvuPweJ3IqpqXUI3iB0FUY__BYJ_raMsbqFpF1SIDoJghyU-ouurldty3Wm9_bVOXTQ.css\u0022 media=\u0022all\u0022 \/\u003E\n\u003C\/noscript\u003E\u003Clink type=\u0022text\/css\u0022 rel=\u0022preload\u0022 href=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/advagg_css\/css__RviKndHbuvjkxKlPZ8_QxqI8OCl99KOh1w0yQDxs7Jk__ZfZydszBKQmlThqBMtwMGAvuPweJ3IqpqXUI3iB0FUY__BYJ_raMsbqFpF1SIDoJghyU-ouurldty3Wm9_bVOXTQ.css\u0022 media=\u0022all\u0022 as=\u0022style\u0022 onload=\u0022window.advagg_mod_loadcss = function() {if (window.jQuery) {if (jQuery.isFunction(jQuery.holdReady)){jQuery.holdReady(false);}} else {setTimeout(advagg_mod_loadcss, 100);}};setTimeout(advagg_mod_loadcss, 200);this.onload=null;this.rel=\u0026#039;stylesheet\u0026#039;\u0022 \/\u003E\n\u003C\/head\u003E\u003Cbody\u003E\u003Cdiv class=\u0022panels-ajax-tab-panel panels-ajax-tab-panel-profile\u0022\u003E\u003Cdiv class=\u0022one-column at-panel panel-display clearfix\u0022 \u003E\n  \u003Cdiv class=\u0022region region-one-main\u0022\u003E\n    \u003Cdiv class=\u0022region-inner clearfix\u0022\u003E\n      \u003Cdiv class=\u0022panel-pane pane-node-content no-title block\u0022\u003E\n  \u003Cdiv class=\u0022block-inner clearfix\u0022\u003E\n    \n            \n    \n    \u003Cdiv class=\u0022block-content\u0022\u003E\n      \u003Carticle id=\u0022article-11762\u0022 class=\u0022node node-artist article odd node-lang-en node-full 1 ia-r clearfix\u0022 role=\u0022article\u0022\u003E\n  \u003Cdiv class=\u0022article-inner\u0022\u003E\n\n    \n    \u003C!----\u003E\n\n    \n    \n    \u003Cdiv class=\u0022node-content\u0022\u003E\n    \u003Cdiv class=\u0022field field-name-field-featured-image field-type-image field-label-hidden view-mode-full view-mode-full\u0022\u003E\n    \u003Cdiv class=\u0022field-items\u0022\u003E\n          \u003Cfigure class=\u0022field-item\u0022\u003E\n        \u003Ca href=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/stevenwoloshen.jpg\u0022 title=\u0022\u0022 class=\u0022colorbox\u0022 data-colorbox-gallery=\u0022gallery-node-11762-8MdxNb7KwF4\u0022 data-cbox-img-attrs=\u0022{\u0026quot;title\u0026quot;: \u0026quot;\u0026quot;, \u0026quot;alt\u0026quot;: \u0026quot;\u0026quot;}\u0022\u003E\u003Cimg class=\u0022image-style-wiki-profile\u0022 src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/styles\/wiki_profile\/public\/stevenwoloshen.jpg?itok=d3IsN4Ay\u0022 width=\u0022360\u0022 height=\u0022360\u0022 alt=\u0022\u0022 title=\u0022\u0022 \/\u003E\u003C\/a\u003E                   \n               \n              \u003Cfigcaption class=\u0022caption full-caption\u0022\u003E\u003C\/figcaption\u003E\n                                                        \u003C\/figure\u003E\n      \u003C\/div\u003E\n\u003C\/div\u003E\n\u003Cdiv class=\u0022field field-name-body field-type-text-with-summary field-label-hidden view-mode-full view-mode-full\u0022\u003E\u003Cdiv class=\u0022field-items\u0022\u003E\u003Cdiv class=\u0022field-item even\u0022\u003E\u003Cp\u003E\u003Cstrong\u003ESteven Woloshen\u003C\/strong\u003E (born 1960) in Montreal, is a film animator and a pioneer of drawn on film animation.\u003C\/p\u003E\n\u003Cp\u003EWoloshen first attended Vanier College, where he worked with Super-8 film and video, then specialized in 16\u00a0mm independent film techniques at Concordia University in Montreal.\u003Ca href=\u0022http:\/\/www.awn.com\/ottawa\/OIAF05\/prog_speakers_woloshen.php\u0022\u003EOttawa International Animation Festival, 2005\u003C\/a\u003E He has since created animated and experimental films, which have been shown at screenings and festivals around the world.\u003Ca href=\u0022http:\/\/www.awn.com\/ottawa\/OIAF05\/prog_speakers_woloshen.php\u0022\u003EOIAF, 2005\u003C\/a\u003E\u003C\/p\u003E\n\u003Cp\u003EWorking in camera-less animation since 1982, Woloshen has used scratches and lacerations on film to create emotional content.\u003Ca href=\u0022http:\/\/www.animatv.be\/movie.php?pageID=46\u0026amp;ln=3\u0026amp;lnc=3\u0022\u003EAnima 2009, Brussels Animation Film Festival\u003C\/a\u003E\u003C\/p\u003E\n\u003Cp\u003EWoloshen is a Montrea-based camera-less animator who has been making films since the late \u201870\u2019s. He studied film at Concordia, where he initially made documentaries and collage films, but the freedom and accessibility of scratch animation won him over. Since 1999 he has worked exclusively in 35mm CinemaScope, an oddity in the independent film world that is made possible by his otherwise thrifty means of production. His works have screened worldwide at festivals including the Montreal World Film Festival, Tampere International Short Film Festival, Annecy Animated Film Festival, Ottawa International Animation Festival, and I Castelli Animati in Rome.\u003C\/p\u003E\n\u003Cp\u003EWoloshen is heavily inspired by music, particularly jazz, and has made numerous short abstract works in which the images are created in synchronization to a music track. While most of his films are exuberantly colored, \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/MeMeMaMa\/\u0022\u003EMeMeMaMa\u003C\/a\u003E (2000) is done in spare black and white. White scratches resembling rubbings, chalk drawings or electronic static jitter across a black background, matched to the driving beat of a techno music piece. (2002) takes a piece by Erik Satie and translates it into abstract imagery. The deep, masculine sound of a tuba appears in blocky shapes of colour, contrasted with delicate white squiggles corresponding to a woman singing. The tuba and voice play off each other as if in conversation, male and female. Dave Brubeck\u2019s jazz classic \u201cTake Five\u201d is the inspiration for \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Cameras_Take_Five\/\u0022\u003ECameras Take Five\u003C\/a\u003E (2002), in which fluid lines represent the saxophone voice, moving over top of color fields of electric blue and green interspersed with playful shapes and doodles. These are vibrant, light-hearted works, which capture the spirit and energy of the music.\u003C\/p\u003E\n\u003Cp\u003EAs in jazz, improvisation and chance are important aspects of Woloshen\u2019s work. Because his films are self-funded and the tools of his craft (film leader, markers, inks, brushes and craft knives) are readily available, he can seize on an inspiration and act on it immediately. He writes: \u201cI think spontaneous urges and desires are the best part of handmade film making.\u201d Woloshen even constructed a portable scratch box so that he could do scratch animation during breaks on his job as a driver in the feature film industry.\u003C\/p\u003E\n\u003Cp\u003EAs fun as Woloshen\u2019s musical salutes are, for me the strongest and most satisfying of his films are those which depart somewhat from this method, such as \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/The_Babble_on_Palms\/\u0022\u003EThe Babble on Palms\u003C\/a\u003E (2001) and \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Two_Eastern_Hair_Lines\/\u0022\u003ETwo Eastern Hair Lines\u003C\/a\u003E (2004). \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/The_Babble_on_Palms\/\u0022\u003EThe Babble on Palms\u003C\/a\u003E features various found-footage scenes of everyday life, accompanied by music by \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Ali_Akbar_Khan\/\u0022\u003EAli Akbar Khan\u003C\/a\u003E. The outline of a hand appears over all of the scenes, partially blocking our view. The hand is treated with constantly changing decoration such as dots and spirals, and patterns and colours reminiscent of both the solar system and cells under a microscope \u2013 the universe is contained in our hand. The film suggests a thread connecting all people, but also the limitations of our viewpoint and the individuality (the \u201chand print\u201d) that sets us apart.\u003C\/p\u003E\n\u003Cp\u003E\u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Two_Eastern_Hair_Lines\/\u0022\u003ETwo Eastern Hair Lines\u003C\/a\u003E also employs found footage, and is composed primarily of scenes of two or three people \u2013 a man and woman in a room together, two men seated across a desk from one another, a couple seated side-by-side. Parts of the images are framed, blocked out, or painted over, dividing and isolating the figures from each other. Set against a 1939 Chinese recording, \u201cParting at Yang Kwan,\u201d \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Two_Eastern_Hair_Lines\/\u0022\u003ETwo Eastern Hair Lines\u003C\/a\u003E is full of longing. It reflects on the unbridgeable distance between people and the difficulties of communication. As Woloshen writes in his description, \u201cSometimes the rifts between us are as wide as rivers, and sometimes as small as hair lines.\u201d\u003C\/p\u003E\n\u003Cp\u003EWoloshen was recently the subject of a retrospective screening at Saw Video Gallery, hosted by the Canadian Film Institute. He is also featured in a new anthology on animation, \u003Cem\u003EThe Sharpest Point: Animation at the End of Cinema\u003C\/em\u003E, edited by Chris Gehman and Steve Reinke and co-published by YYZ Books, the Ottawa Animation Festival and the Images Festival.\u003Ca href=\u0022http:\/\/www.cfmdc.org\/home.php\u0022\u003Ecfmdc, 2005\u003C\/a\u003E\u003C\/p\u003E\n\u003Cp\u003ESince his return to filmmaking in 1996, after a hiatus of more than a decade spent working in various capacities in the film industry, Steven Woloshen has been extraordinarily productive, seemingly increasing his output year by year even as he faces the usual obstacles that tend to slow an independent filmmaker\u2019s career (parenthood, the need to earn a living, lack of financing). It\u2019s clear that the years he spent working on film sets and in labs were far from wasted: Woloshen\u2019s work \u201cpost-hiatus\u201d is extraordinarily assured compared to his promising films from the 80s, showing enormous progress in aesthetics, graphic technique and understanding of lab processes. (Most of his work now is in 35mm, and often in \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/CinemaScope\/\u0022\u003ECinemaScope\u003C\/a\u003E, an unusual format for this kind of animation.) Since 1999\u2019s \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Get_Happy\/\u0022\u003EGet Happy\u003C\/a\u003E, it seems, Woloshen has found his rhythm and his method. And happily, following the huge festival success of \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Ditty_Dot_Comma\/\u0022\u003EDitty Dot Comma\u003C\/a\u003E (2001) and a subsequent retrospective at the 2002 Ottawa International Animation Festival, his work has been increasingly seen and recognized at festivals, cinematheques and other venues around the world.\u003C\/p\u003E\n\u003Cp\u003EHis film, \u003Cem\u003ECameras Take Five\u003C\/em\u003E, was included in the Animation Show of Shows.\u003C\/p\u003E\n\u003Cp\u003EWoloshen has self-published a book on his tecniques of camera-less animation: \u003Cem\u003E\u003Ca href=\u0022http:\/\/expcinema.org\/site\/index.php?option=com_virtuemart\u0026amp;page=shop.product_details\u0026amp;flypage=shop.flypage\u0026amp;category_id=10\u0026amp;product_id=373\u0026amp;Itemid=59\u0022\u003ERecipes for reconstruction\u003C\/a\u003E\u003C\/em\u003E, with a DVD including nine of his short films.\u003C\/p\u003E\n\u003Cp\u003E\u003Cstrong\u003E Awards and Recognition \u003C\/strong\u003E \u003Cem\u003E2010 Ottawa Animation festival - Honorable Mention Playtime \u003C\/em\u003E2010 Jutra Nomination for best Animation: Playtime \u003Cem\u003E2009 Incendo Production Scholarship \u2013 Concordia University. \u003C\/em\u003E2008 GBC Asset Management Scholarship - Concordia University \u003Cem\u003E2007 Avi and Dora Morrow Fellowship Award - Concordia University \u003C\/em\u003E2006 Ottawa Animation festival - Honorable Mention ChangingEvan \u003Cem\u003E2006 Jutra Nomination for best Animation: The Curseof the Voodoo Child \u003C\/em\u003E2004 Jutra Nomination for best Animation: TwoEastern Hair Lines \u003Cem\u003E2003 I Castelli Animate Film Festival- Best Non - Narrative Short Film: Cameras Take Five \u003C\/em\u003E2002 Montreal Jewish Student Film Festival: - Best Experimental film: Ditty Dot Comma\u003C\/p\u003E\n\u003Cp\u003E\u00a0\u003C\/p\u003E\n\u003C\/div\u003E\u003C\/div\u003E\u003C\/div\u003E\u003Csection class=\u0022field field-name-field-nationality field-type-country field-label-inline clearfix view-mode-full view-mode-full\u0022\u003E\u003Ch2 class=\u0022field-label\u0022\u003ENationality:\u0026nbsp;\u003C\/h2\u003E\u003Cdiv class=\u0022field-items\u0022\u003E\u003Cdiv class=\u0022field-item even\u0022\u003ECanada\u003C\/div\u003E\u003C\/div\u003E\u003C\/section\u003E    \u003C\/div\u003E\n\n          \u003Cnav class=\u0022clearfix\u0022\u003E\u003C\/nav\u003E\n    \n    \n  \u003C\/div\u003E\n\u003C\/article\u003E\n    \u003C\/div\u003E\n\n    \n    \n  \u003C\/div\u003E\n\u003C\/div\u003E\n    \u003C\/div\u003E\n  \u003C\/div\u003E\n\u003C\/div\u003E\n\u003C\/div\u003E\u003Cscript src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/advagg_js\/js__UWPcb-dFIKNMRaI8Dtldc9EKRFR1asHAO8yXpi-RA0Q__FKksr7BiLv_-PIwOA62XSsYR9-TCy3H9SwBNTijA80A__BYJ_raMsbqFpF1SIDoJghyU-ouurldty3Wm9_bVOXTQ.js\u0022\u003E\u003C\/script\u003E\n\u003C\/body\u003E\u003C\/html\u003E"}