The Janus Film Logo appears at (approximately) 1 to 8 minutes into the film), at 11 to 13 minutes into the film, at 20 to 22 minutes into the film, at 32 to 34 minutes into the film, at 45 to 48 minutes into the film, at 50 to 53 minutes into the film, and 62 to 70 minutes into the film.
(1 hour, 15 min., 2018, silent, color)
The categories and types that we isolate from the world of phenomena we do not find there because they stare every observer in the face; on the contrary, the world is presented in a kaleidoscopic flux of impressions which has to be organized by our minds - and this means largely by the linguistic systems in our minds. We cut nature up, organize it into concepts, and ascribe significances as we do, largely because we are parties to an agreement to organize it in this way - an agreement that holds throughout our speech community and is codified in the patterns of our language. The agreement is, of course, an implicit and unstated one, but its terms are absolutely obligatory; we cannot talk at all except by subscribing to the organization and classification of data which the agreement decrees.
After thirty-three minutes, the film “Vertigo Land” (original duration of 1;09;43) is compressed to forty-one seconds and shown every seven seconds for two minutes and twenty-six seconds
(1 hour, 30 min., 2016, silent, color)
This is a sequel to "Vertigo Land" (see Van Buskirk's channel). In this film Van Buskirk explores "time-space compression."
According to theorists like Paul Virilio, time-space compression is an essential facet of contemporary life: "Today we are entering a space which is speed-space ... This new other time is that of electronic transmission, of high-tech machines, and therefore, man is present in this sort of time, not via his physical presence, but via programming."
Doreen Massey maintains this idea about time-space compression in her discussion of globalization and its effect on our society. Similar to Virilio, she states that because our world is "speeding up" and "spreading out", time-space compression is more prevalent than ever as internationalization takes place. Cultures and communities are merged during time-space compression due to rapid growth and change, as "layers upon layers" of histories fuse together to shift our ideas of what the identity of a "place" should be.
According to theorists like Paul Virilio, time-space compression is an essential facet of contemporary life: "Today we are entering a space which is speed-space ... This new other time is that of electronic transmission, of high-tech machines, and therefore, man is present in this sort of time, not via his physical presence, but via programming."
Doreen Massey maintains this idea about time-space compression in her discussion of globalization and its effect on our society. Similar to Virilio, she states that because our world is "speeding up" and "spreading out", time-space compression is more prevalent than ever as internationalization takes place. Cultures and communities are merged during time-space compression due to rapid growth and change, as "layers upon layers" of histories fuse together to shift our ideas of what the identity of a "place" should be.
"Chef Carrion" character appears at 17:12 Seconds and 49:03 Seconds
(1 min., 25 seconds, 2014, silent, color)
Vertigo Land
(1 hour, 10 mins., 2012, silent, color)
This is 79 minutes of an animated walk cycle. Nothing less and nothing more.
An animated documentary on "a day in the life" of an associate at Home Depot, directed by Todd Van Buskirk, serves us more than meets the eye. Inspired by the orange and black design of the original movie poster of Hitchcock's "Vertigo," Van Buskirk's film apparently represents the shift into dream state, or euphoria, while trapped in a dead end job, and it's the most beautiful and surprising screen of mind. This is not a drama revolution. This is a visual morphine where tragedy is expressed in the purest prospect. It's just a tiny little line between you and the inside of the screen. It's all in the head, isn't it? Now you see it. Now you don't.
An animated documentary on "a day in the life" of an associate at Home Depot, directed by Todd Van Buskirk, serves us more than meets the eye. Inspired by the orange and black design of the original movie poster of Hitchcock's "Vertigo," Van Buskirk's film apparently represents the shift into dream state, or euphoria, while trapped in a dead end job, and it's the most beautiful and surprising screen of mind. This is not a drama revolution. This is a visual morphine where tragedy is expressed in the purest prospect. It's just a tiny little line between you and the inside of the screen. It's all in the head, isn't it? Now you see it. Now you don't.
Mojo Grimm's Room
(1 hour, 15 mins., 2012, sound, color)
Todd Van Buskirk's "Mojo Grimm's Room" is a study in minimalism by way of computer animation, and an essay on the subject of mind-control within a religious community or movement. Mojo Grimm, an expert in coercive persuasion, is a leader in a new religious-community called "The Way of Apple and Leo." Van Buskirk made this film with the following five issues of concern, regarding the topic of mind-control or coercive persuasion:
1.People are put in physical or emotionally distressing situations;
2.Their problems are reduced to one simple explanation, which is repeatedly emphasized;
3.They receive what seems to be unconditional love, acceptance, and attention from a charismatic leader or group;
4.They get a new identity based on the group;
5.They are subject to entrapment (isolation from friends, relatives and the mainstream culture) and their access to information is severely controlled.
The film is executed through the use of computer animation. Van Buskirk designed and constructed a setting, and animated a point-of-view camera throughout the setting. He rendered the scene, added a soundtrack, and looped it endlessly to create this animated feature.
1.People are put in physical or emotionally distressing situations;
2.Their problems are reduced to one simple explanation, which is repeatedly emphasized;
3.They receive what seems to be unconditional love, acceptance, and attention from a charismatic leader or group;
4.They get a new identity based on the group;
5.They are subject to entrapment (isolation from friends, relatives and the mainstream culture) and their access to information is severely controlled.
The film is executed through the use of computer animation. Van Buskirk designed and constructed a setting, and animated a point-of-view camera throughout the setting. He rendered the scene, added a soundtrack, and looped it endlessly to create this animated feature.
Family and Pet Friendly
(2 hours. 2012. silent, color)
This film is two hours of a character turnaround, nothing more, nothing less. The character was originally designed in 2009 for a CGI class in college, and presented for critique in a turnaround. In 2012, Van Buskirk turned this assignment into a feature length animated film.
Van Buskirk's films are absurd in that they focus not on logical acts, realistic occurrences, or traditional character development; they, instead, focus on characters trapped in an incomprehensible world subject to any occurrence, no matter how illogical. The theme of incomprehensibility is coupled with the inadequacy of language to form meaningful human connections.
Van Buskirk's films are absurd in that they focus not on logical acts, realistic occurrences, or traditional character development; they, instead, focus on characters trapped in an incomprehensible world subject to any occurrence, no matter how illogical. The theme of incomprehensibility is coupled with the inadequacy of language to form meaningful human connections.
"Shameless waste of storage and bandwidth" - Dan Zaharia
Mausoleum of Collected Sorrow
(1 hour, 10 mins. 2012, silent, color)
This film is 1 hour, 9 minutes, and 44 seconds of an animated walk cycle. No more, and no less. Todd Van Buskirk's description of a 'mausoleum' is that it is a wandering body, perhaps human, perhaps alien, perhaps both. The mausoleum of the mind, and it's lack of color, with a body that exists in shadow only. Soundless, limitless, and endless sorrow trapped inside this walking body.
Van Buskirk started this project some years ago with an assigned animated walk cycle assignment in college. Van Buskirk was given a 3D modeled character to animate using Maya software. The essence of the assignment, which earned a "C", was animate 15 seconds of a walk cycle. This basic idea survives in the finished 80 minute feature.
Van Buskirk's films are absurd in that they focus not on logical acts, realistic occurrences, or traditional character development; they, instead, focus on characters trapped in an incomprehensible world subject to any occurrence, no matter how illogical. The theme of incomprehensibility is coupled with the inadequacy of language to form meaningful human connections.
Van Buskirk started this project some years ago with an assigned animated walk cycle assignment in college. Van Buskirk was given a 3D modeled character to animate using Maya software. The essence of the assignment, which earned a "C", was animate 15 seconds of a walk cycle. This basic idea survives in the finished 80 minute feature.
Van Buskirk's films are absurd in that they focus not on logical acts, realistic occurrences, or traditional character development; they, instead, focus on characters trapped in an incomprehensible world subject to any occurrence, no matter how illogical. The theme of incomprehensibility is coupled with the inadequacy of language to form meaningful human connections.
Allow Natural Death in Radiology
(1 hour, 10 min., 2012, silent, color)
This film is 1 hour, 9 minutes, and 44 seconds of an animated walk cycle. No more, and no less, except the radioactive light animating off the character slowly gets brighter as the feature progresses.
Van Buskirk started this project some years ago with an assigned animated walk cycle assignment in college. Van Buskirk was given a 3D modeled character to animate using Maya software. The essence of the assignment, which earned a "C", was animate 15 seconds of a walk cycle. This basic idea survives in the finished 80 minute feature.
Van Buskirk's films are absurd in that they focus not on logical acts, realistic occurrences, or traditional character development; they, instead, focus on characters trapped in an incomprehensible world subject to any occurrence, no matter how illogical. The theme of incomprehensibility is coupled with the inadequacy of language to form meaningful human connections.
Van Buskirk started this project some years ago with an assigned animated walk cycle assignment in college. Van Buskirk was given a 3D modeled character to animate using Maya software. The essence of the assignment, which earned a "C", was animate 15 seconds of a walk cycle. This basic idea survives in the finished 80 minute feature.
Van Buskirk's films are absurd in that they focus not on logical acts, realistic occurrences, or traditional character development; they, instead, focus on characters trapped in an incomprehensible world subject to any occurrence, no matter how illogical. The theme of incomprehensibility is coupled with the inadequacy of language to form meaningful human connections.
Jennifer M.
(3 mins. 18 seconds. 2010, sound, color)
A woman turns the pages of a high school yearbook and enters a world of memory and mystery. We hear the voices of her mind as she meditates on the photos of her classmates. But her ruminations are interrupted by the impact of loss.
This was also my showcase for the final presentation to the animation faculty at The Southwestern University of Visual Design. I sincerely want to thank Gavrilo Gnatovich for all his teaching and help. Making this film was an amazing experience and I will never forget it.
This was also my showcase for the final presentation to the animation faculty at The Southwestern University of Visual Design. I sincerely want to thank Gavrilo Gnatovich for all his teaching and help. Making this film was an amazing experience and I will never forget it.
Loss of Face
(1 min, 12 seconds. 2008, sound, color)
Ever shifting thought balloons introduce a confused woman in the grip of memory. This animation short was screened twice at the Loft Theater in Tucson.
Dear Helene in Three Pieces
(30 seconds. 2007, sound, color)
A film based on a letter from composer Alban Berg (1885-1935) to his wife, Helene. Alban Berg met Helene in 1906 – a year after he'd first seen Wedekind's Lulu plays – but they were not married until 1911.
She was a singer, the daughter of a wealthy family though it was rumored she was the illegitimate daughter of the emperor. Perle, in quoting the letters Berg wrote when he was kept apart from her “by the implacable opposition of her adoptive father,” notes how he “facetiously describes himself as a 'writer' whose daily letters to her are 'chapters of a vast novel entitled HELENE AND ALBAN: The Story of a Great Love.” Berg even suggested taking 70 or 80 of these letters and turning them into a “nice book” they could present to her “old man” that “could even convert him!”
She was a singer, the daughter of a wealthy family though it was rumored she was the illegitimate daughter of the emperor. Perle, in quoting the letters Berg wrote when he was kept apart from her “by the implacable opposition of her adoptive father,” notes how he “facetiously describes himself as a 'writer' whose daily letters to her are 'chapters of a vast novel entitled HELENE AND ALBAN: The Story of a Great Love.” Berg even suggested taking 70 or 80 of these letters and turning them into a “nice book” they could present to her “old man” that “could even convert him!”