Alison Reiko Loader
| Alison Reiko Loader | |
|---|---|
| Born | |
| 🏳️ Nationality | Japanese-Canadian |
| 🏫 Education | BFA, MA, PhD, Concordia University |
| 💼 Occupation | Digital artist, animator, filmmaker, professor |
Alison Reiko Loader is a Japanese-Canadian, Montreal-based digital artist, professor, and filmmaker. Loader has ventured into multiple genres of digital media art, including stereoscopy, anamorphis, 3D game design, 3D animation, and CGI.
Her work is soften rooted in animation and CGI, which has lead her to produce multiple short animations for the National Film Board of Canada, including her 2002 award-winning film, Showa Shinzan. It is typical of Loader to discuss and question social and political topics, such as race and gender in her work.[1] Loader's work is often inspired by her Japanese heritage, including Showa Shinzan.
Loader has spent time working in Tokyo, where she developed computer generations for Sony PlayStation and Sega Saturn games.[2]
Loader is a faculty member at Concordia University and Dawson College, located in Montreal Quebec, where she has been a part-time professor of Design and Computation Arts, and CGI and 3D-Animation since 2001.
Education[edit]
- BFA in Film Animation/Studio Art and Art History (minor), 1992
- MA in Media Studies, 2011
- PhD in Communications from Concordia University,[3] 2018
List of works[edit]
Source[4]
Film work[edit]
| Director | Showa Shinzan (2002)
Experiment 02_06 (2006) Folding (2008) Roots (2011) Rouge ta Rue (2012) Mobile Media Archeology (2013) Mass Transit (2014) |
Short |
| Animator | Ryan (2004) | Documentary Short |
| Mentor | Batmilk (2009)
Family Album Number One (2009) Git Gob (2009) Orange (2009) Pearl (2009) Wiggles and Giggles (2009) |
Short |
| Self | Six: Inside (2009) | Short |
| Producer | 36 hours (2013) | Short |
Most notable film work[edit]
Showa Shinzan (2002)[edit]
Showa Shinzan is the first 3D animation film produced by Loader, under the National Film Board of Canada.[5] Based on true events, the 2002 film, which takes place in WWII Japan, follows the story of the volcanic eruption of Mount Usu, which ultimately leads to the propagation of a new mountain; Showa Shinzan. The eruption effects the relationship between a young girl, Yasuko, and her postmaster/geologist grandfather, Masao Mimatsu, who is studying the event. The style of this film is inspired by traditional, Japanese Bunraku puppetry.[6]
Showa Shinzan is Loader's most recognized work. The political narrative of the film is typical of Loader, as she commonly chooses to explore political and social issues. This film displays Loader's proficiency in the areas of 3D animation and computation arts.
Showa Shinzan received the Chris (Best Animated short) Award in the Columbus International Film & Video in 2003, and the Best Narrative Award in the Women’s Film Festival, also in 2003.
Installation work[edit]
Source[7]
| Year | Title | Location |
|---|---|---|
| 2010 | Possible Movements | Grey Nuns Chapel, Montreal[8] |
| 2011 | Anamorphic Cinema | Centaur Theatre, Montreal |
| 2015 | En masse | FOFA Gallery Vitrines |
Published scholarly articles[edit]
source[9]
- Song, Miao, et al. "A stereoscopic OpenGL-based interactive plug-in framework for Maya and beyond." Proceedings of the 8th International Conference on Virtual Reality Continuum and its Applications in Industry. 2009.[10]
- “3-D Convergence and Collaboration in the Cold: Norman McLaren and 1950s Stereoscopic Animation at the National Film Board of Canada,” Animation Journal, 22, 2014[9]
- Loader, Alison, D. Mooney, and T. Bush. "UK Nitrogen Dioxide Network 2000." AEA Technology, Culham (2001).[11]
- Loader, Alison Reiko. Willful Spectacles: The Splendid Camera Obscuras & Popular Observatories of Miss Maria Short. Diss. Concordia University, 2018.[12]
- “We’re Asian, more expected of us!: The Model Minority and Whiteness in King of the Hill” (reprints) in Animation: Critical and Primary Sources, ed. C. Pallant, (Bloomsbury Academic), forthcoming; in The Animation Studies Reader, eds. N. Dobson et al. Bloomsbury (New York: Bloomsbury Academic), 235-246, 2018; in The Model Minority Stereotype Reader: Critical and Challenging Readings for the 21st Century, ed. Nicholas Hartlep (San Diego: Cognella), 371- 384, 2014. Originally published in Animation Studies Online Journal, 5, 2010.[13]
- “Re: Animating Moths.” Animation Studies Online Journal, 9, 2014.[9]
- “The Anamorphic Cinema” (reprint) in Animation: Critical and Primary Sources, ed. C. Pallant, (Bloomsbury Academic), forthcoming. Originally published in Animation Practice, Process and Production Journal, 1(2), 2011.[14]
- “A rational and entertaining species of amusement to bipeds of all ages: The Splendid Camera Obscura” in Corporeality in Early Cinema, ed. M Dahlquist et al. (Bloomington: Indiana UP), 289-299, 2018.[9]
- “From Near to Far: Maria Short’s Popular Observatory and The Spaces of Science in Edinburgh from 1736 to 1850.” Theory of Science: journal for interdisciplinary studies of science, 36(1), 2014.[15]
- “Of Motors, Martians and Jazz Age Cuties: The Stereoscopic Inventions of Laurens Hammond.” (co-author Owen Chapman, reprint), 3D Cinema and Beyond, eds. Dan Adler, Janine Marchessault and Sanja Obradovic (Toronto: Intellect), 110-122, 2013; originally published in Public 24(47), Spring 2013.[16]
- Loader, Alison Reiko. "Right before the first boom: The lost stereoscopy of Norman McLaren and the National Film Board of Canada." (2019).[17]
- Alison Reiko, Loader. "Doron Galili, Seeing By Electricity: The Emergence of Television, 1878–1939." (2021): 1748372720986103.[18]
References[edit]
- ↑ "Alison Loader". Animation Evolution. Retrieved 2021-02-24.
- ↑ "서울국제여성영화제". 서울국제여성영화제. Retrieved 2021-02-24.
- ↑ "Faculty". www.concordia.ca. Retrieved 2021-02-24.
- ↑ "Alison Reiko Loader". IMDb. Retrieved 2021-02-26.
- ↑ "Alison Loader". Animation Evolution. Retrieved 2021-02-24.
- ↑ Loader, Alison Reiko; Verrall, David; Fukushima, Michael; National Film Board of Canada (Montreal), eds. (2012). Showa Shinzan. Montreal: National Film Board of Canada. Search this book on
- ↑ "Faculty". www.concordia.ca. Retrieved 2021-03-02.
- ↑ "Interactive Futures 2009 - Alison Reiko Loader". if2009.ecuad.ca. Retrieved 2021-03-02.
- ↑ 9.0 9.1 9.2 9.3 "Faculty". www.concordia.ca. Retrieved 2021-03-02.
- ↑ Song, Miao; Mokhov, Serguei A.; Loader, Alison R.; Simmonds, Maureen J. (2009-12-14). "A stereoscopic OpenGL-based interactive plug-in framework for Maya and beyond". Proceedings of the 8th International Conference on Virtual Reality Continuum and Its Applications in Industry. VRCAI '09. Yokohama, Japan: Association for Computing Machinery: 363–368. doi:10.1145/1670252.1670333. ISBN 978-1-60558-912-1. Unknown parameter
|s2cid=ignored (help) - ↑ "UK Nitrogen Dioxide Network 2004" (PDF). Unknown parameter
|url-status=ignored (help) - ↑ "Willful Spectacles: The Splendid Camera Obscuras & Popular Observatories of Miss Maria Short" (PDF). Unknown parameter
|url-status=ignored (help) - ↑ "We're Asian, more expected of us!: The Model Minority and Whiteness in King of the Hill" (PDF). Unknown parameter
|url-status=ignored (help) - ↑ Loader, Alison Reiko (2012-06-27). "The anamorphic cinema". Animation Practice, Process & Production. 1 (2): 285–313. doi:10.1386/ap3.1.2.285_1.
- ↑ Loader, Alison Reiko (2014-11-06). "From Near to Far: Maria Short and the Places and Spaces of Science in Edinburgh from 1736 to 1850". Teorie vědy / Theory of Science. 36 (1): 15–47. ISSN 1804-6347.
- ↑ Chapman, Owen; Loader, Alison Reiko (2013-07-01). "Of motors, martians and jazz age cities : The stereoscopic inventions of Laurens Hammond". Public. 24 (47): 110–122. doi:10.1386/public.24.47.110_1.
- ↑ Loader, Alison Reiko (2019-07-11). "Right before the first boom: The lost stereoscopy of Norman McLaren and the National Film Board of Canada".
- ↑ Alison Reiko, Loader (2021-01-17). "Doron Galili, Seeing By Electricity: The Emergence of Television, 1878–1939". Nineteenth Century Theatre and Film: 1748372720986103. doi:10.1177/1748372720986103. ISSN 1748-3727.
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