The judges said:
An animated folktale about a man who undertakes a quest for a solution to end the disease and starvation that beset his village, to return as an exhausted, but sage,
old man. In his travels to the main four points of the compass, the audience is treated to an overview of North American geography from the Indian point of view
(pre-European invasion). The film also touches on Native American themes of veneration of the natural world, ancestor-worship, and the elderly as principal
repositories of experience and knowledge. The artwork is bright, colorful, and beautiful, using Flash-style mostly-static cut-outs against fixed, painted backgrounds
in a way that complements the work's story-book appeal. A breath of fresh air in terms of execution, the densely layered content is well-suited to repeat viewing and
both underscores and provides an overview of exhibit themes and content. At a running time of about 5 minutes, the piece is wonderfully imagined, tightly edited,
and perfectly tailored to a museum exhibit environment.
The producers said:
When dealing with Native American stories it is always a challenge to condense the story for viewing in an exhibition setting. We selected the animation format
because we originally targeted young visitors (8 - 10 year olds). Since opening the museum we have found that it has also resonated very well with adults. The
exhibition describes the ways in which the Anishnaabe people perform ceremonies of balance and renewal each year. Our goal was to tell the visitors the story that
is the basis of that knowledge and why the traditional practices are so important. Our visitors love the story and look of the piece. However, one amazing
consequences of displaying this story is that we have had multiple requests for copies of the animation from people in the medical profession and medical training
field who work with Indigenous people. They felt that this explanation of how balance affects health was essential for their students and staff to understand when
working with Indigenous patients. The exceptional artwork of Felix Vigil formed the visual material that became this colorful and engaging
animation.
The judges said:
A comprehensive, witty, and engaging historical survey that makes excellent use of a wealth of primary source material, this whirlwind retrospective sprawls across
some 250+ years of history as told in a fun, irreverent style. Still, the self-deprecating script is serious where it needs to be: when addressing the broken pact
with Native Americans, the Washburn tragedy, and the 20 year vacant footprint left by the demolition of the Metropolitan (and the urban heart of the city during
a period of suburban flight). Lumber! Milling! Logging! Textiles! Night life! The Twins! Feel the pride! Technically, the film shows mastery of a demanding
collage style while remaining careful to have all images directly support the script (and vice-versa, right down to an extreme close-up of sauerkraut). The piece
rolls along to a satisfying finish that cleverly weaves the narrator directly into the content. The piece is ultimately a brilliant example of how history coupled
with civic pride can (even in a sprawling overview like this one) be presented in a tremendously entertaining way.
The producers said:
Minneapolis in 19 Minutes Flat is a dynamic, yet quirky documentary, which provides an entertaining historical overview of Minneapolis. The 19 minute
documentary is shown exclusively in a 50 seat high-definition digital cinema at the Minnesota Historical Society's Mill City Museum in Minneapolis.
Knowing that city histories can be tedious, the in-house production team at the Minnesota Historical Society sought to make this project informative and
engaging. To do this, we enlisted the talents of Kevin Kling, a local humorist and storyteller.
The team wanted to answer the following questions: What gives Minneapolis its "je ne c'est quoi?" Who was here and who came? What was the city known for?
What were the key events that shaped the city? What buildings or places are significant to Minneapolis's development? What fresh stories and fresh characters can
we highlight?
The combination of Kevin Kling's keen storytelling abilities, along with the large screen presentation and surround sound audio, truly engages viewers in the city's
past. The show appeals to a wide audience. From toddlers to seniors and all ages in-between, people enjoy and learn from this experience. Visitor surveys show
the that audiences love the "cheeky attitude" and "feverish pacing."
The judges said:
Use of a painter's canvas as a metaphor risks preciosity given pugilist subject matter, yet through the energy of LeRoy Neiman's artwork (which cry out for lengthier
study and hence allow repeat viewing) this compelling introductory presentation manages deftly to blend boxing and art, teasing museum content while simultaneously
offering original substantive material in its own right. In fact, the inherent challenge in producing this film must have been to create something different from
the countless video tributes by various broadcasters and producers, many high-quality, most shown repeatedly. By catching the signature images and showing their
immediate context, the museum offered a new facet for visitors to consider, as well as great interviews offering authoritative information, establishing import of
upcoming scenes, and lending needed interpretation. The end result comes across as classic mythology - Ali arises from nowhere, is unlike any fighter before, leaves
the stage, returns to triumph, failure, final triumph, and leaves a lasting legacy. The is an effective and entertaining introduction that invites further exploration
of Ali's life.
The producers said:
Our target audience is visitors of the Muhammad Ali Center of diverse ages, cultures, and ethnicities who possess varying levels of knowledge about Ali's illustrious
professional boxing career. Our goal was to create a film that would enhance and intensify the sensory surroundings of the projection space, which was designed to
give visitors viewing "The Greatest" the same thrill and excitement of watching a live boxing match. It also had to be comprehendible and entertaining
and had to live up to its name. To present the film, we used a canvas of a regulation sized boxing ring (used in the 2001 "Ali" movie) as our projection
screen. Visitors view the film by standing above and around the screen through an opening in the floor that is projected on the canvas below. We used photographs of
Ali bouts by sports photographer Neil Leifer, many of which were taken from above at a similar perspective. We also used the symbolism of an artist's canvas in
conveying Ali's skill as a boxer and included LeRoy Neiman paintings of Muhammad and revealed them as brush strokes across the canvas. The outcome has been
spectacular and a favorite media exhibit of visitors from around the world.
