Michel Ocelot A World of Animated Images

Cover
Half Title
Series Page
Title Page
Copyright Page
Contents
Introduction
Chapter 1. Ars Animativa
	Early Life
	First Television Productions: Gédéon
	Les 3 Inventeurs: A Declaration of Poetics
	La Légende du Pauvre Bossu
	Other Early Productions
	Notes
Chapter 2. Silhouette Films: A Magical Night Where Anything Can Happen
	The Adventure of Ciné Si and the Commitment to the Papier Découpé
	Ocelot and the History of Silhouette Animation
	The Return of the Silhouette Fairytales: Dragons et Princesses
	The Collaboration with Björk
	Notes
Chapter 3. Once Upon a Time, Kirikou
	The Birth of Kirikou
	An Alternative to Disney
	The Success of Kirikou
	Different Perspectives on Kirikou et la Sorciére
	After the Notoriety, the Sequels
	Notes
Chapter 4. A Beautiful Stranger: Azur & Asmar
	A New Medium for a New Story
	The Representation of Alterity
	Visuality and Sound Between Two Cultures
	Notes
Chapter 5. Dilili à Paris, or Beauty Will Save Us
	A Homage to Paris
	A humanist message
	A Foray into Live-Action Cinema: Pablo-Paris-Satie
	Notes
Appendix 1
	Interview with Michel Ocelot
		How did the film project Le Pharaon, le Sauvage et la Princesse come about? Why did you choose these three stories?
		Can you tell us something about your experience of working with the Louvre?
		How many people worked on the film? What type of work organisation characterised Le Pharaon, le Sauvage et la Princesse?
		What role did the musicians play in the production of this film?
		On which visual sources did you mainly draw inspiration for each of the stories?
		What messages did you want to communicate with this work?
		What project are you currently working on?
	Thierry Buron, head of set design, tells us about his experience working on Le Pharaon, le Sauvage et la Princesse
Appendix 2
Bibliography
	Books
	Interviews and Articles
	Documentaries
Index