MONSTER’S Online Release on the 9th of November 2017
Visit its website monstermovie.squarespace.com and click on one of the buttons
Or directly watch on this platform, folder: “Movies”, “MONSTER”
MONSTER In Consideration at LJFFF’S Market 2017 Now
May & June. Streaming Now in: “ITALIA”
Searching for MONDRAGONE (“Materials”), Detail
VESUVIO. AN ANTHEM (slightly revisited on May 2017)
Streaming Now in: “VESUVIO”
While waiting for MONDRAGONE, who is still giving lectures at the University of Santo Domingo:
NEVERLAND. A CODA TO THE ANTHEM
Streaming Now in: “NEVERLAND”
CAPREAE Revisited Now (April 2017)
In New Definition, Sight, and Sound
And with New Subtitles
Witness the man who raves at the wall
Making the shape of his question to Heaven
Whether the sun will fall in the evening
Will he remember the lesson of giving
Set the Controls for the heart of the sun
The heart of the sun…
Roger Waters
March & April 2017. Working Again on the VESUVIO Project
A Story About Children Growing Up Between a Volcano, Europe’s Waste, and Modern Ruins
MONSTER’S Cover Letter
for the Architecture & Design Film Festival (ADFF),
New York 2017
Dear Team of the Architecture & Design Film Festival,
your programme is very inspiring. We are a group of young artists from Europe, and would be very proud and glad, if we could participate at the next ADFF in New York. The experimental narrative of the short film we are submitting, is based on sketch-books by Maddalena Annunziata, a professional Fashion Designer, who is working for Sharon Wauchob in London today. Due to its theme, the movie was shot in a workshop of the NS Regime’s power station next to the fascist’s government buildings around Königsplatz in Munich, and therefore could be of some interest from an architectural point of view, too.
We thank you for your precious attention.
With best regards, Antonio Annunziata & Team
Canadian International Fashion Film Festival 2017
MONSTER’S Presentation
for the Milan Design Film Festival (MDFF) 2017 (Italian/English)
L’opera audiovisiva MONSTER,
avente ad oggetto:
L’audio-visualizzazione della donna concepita da una collezione di moda di Maddalena Annunziata, intitolata: “Monster”. Il cortometraggio sperimentale offre un’esperienza atmosferica dei temi trattati negli sketch-books di essa collezione, che girano attorno l’ambizione contemporanea di creare un’intelligenza artificiale. Si tratta di calcoli matematici praticamente impossibili da visualizzare con metodi tradizionali, ma che avranno un impatto estetico ed etico sulla vita umana.
The audio-visual work MONSTER,
having the following subject:
The audio-visualization of the woman conceived by a fashion collection of Maddalena Annunziata, entitled: “Monster”. The experimental short-film offers an atmospherical experience of the themes treated in the sketch-books of this collection, which develop around the contemporary ambition to create an artificial intelligence. It’s about mathematical calculations that are practically impossible to visualize with traditional methods, but will have an aesthetical and ethical impact on human life.
Visualizing the Invisible
MONSTER’S Press Release
for the La Jolla Fashion Film Festival (LJFFF) 2017
My sister Maddalena Annunziata, a professional Fashion Designer, approached me one day with the desire to create a movie, which could represent the woman concieved by her last personal collection: “Monster”.
Her methods are very creative; since I found a lot of themes in her sketch books related to an important contemporary issue: the creation of an artificial human being that could one day substitute us together with all our deficiencies.
Our tremendous difficulties for realizing this project, gathered around the following three points:
I.) We had to shoot in Munich, which turned out to be an incredibly wealthy, but nevertheless NOT-creative environment, since we had absolutely no money.
II.) Fashion is doomed to be superficial. Consequently many people were not willing to believe that we were going to do something related to fashion in a personal, not conventional way that wouldn’t care about cliches.
III.) Finally, the greatest difficulty was due to my sister’s designs being the expression of very abstract concepts, which are practically impossible to visualize. In order to bring to life the kind of woman she was imagining, we had to find a visual strategy which would transmit the required impression, without being to obvious in our conceptual principles. We had to look at everything from above, and also pay great attention to detail.
