Edvard Munch The Scream, music The Great Gig In The Sky - Pink Floyd

“I was walking along a path with two friends – the sun was setting – suddenly the sky turned blood red – I paused, feeling exhausted, and leaned on the fence – there was blood and tongues of fire above the blue-black fjord and the city – my friends walked on, and I stood there trembling with anxiety – and I sensed an infinite scream passing through nature.”

Edvard Munch, 1893

Cheers @MrZz tecnique used reminded me a shorter and goreish version of
Linklater's (such a fun surname) A Scanner Darkly which was also exhibiting in 2006... and before that, 2001, Waking Life

 
When one grows up nurturing the imaginarium with bidimentional motionless characters from a comic strip It is not easy to confront their computer animated graphics' version years later. In this case, I am quite happy their succeeded to keep the spirit, the humour and the subtelties from the "original" Goscinny/Uderzo couple. They also did a good job with the soundtrack and specially with FRENCH (original) character's voices. Lot's of fun =)

 
Astérix: Le domaine des dieux • 2014
 

 
Full credits - http://goo.gl/FO8G8b

Very nice intro =) ... with the wagner ST and all it seems a bit comedic or ironic which adds to it, as it would a kungfu-samurai-9volt intergallactic fugitive secretly gay hero eating salad before a war between civilizations; hey, I'm not saying this is Capt Harlock :P
Man, there's so many things to watch, so nice, competent, passionate work accumulated and getting forgotten (getting forgotten, I need to sleep now). Cheers Sean, glad Macross tickles

I love this intro, great colour's palette, Gundam 1982

 
Baoh, a little bit of gorey plasmodic

 
For those who want it ALL

 
And for finishing with something completelly different:

Hokuto no Ken (or if HeMan had a dealer)

@maxr Interesting. Well, I do think I will watch it one of these days. I do think he's one of the most unique and gifted storytellers in animation. Nausicaa will likely always be my favorite but I do feel a certain loss not having seen all of his films yet.

Animation is my first love so all of my reactions are very emotional. That I learned how it's made has had both positive and negative effects on my perception of what I see. Whereas I'm an advocate of digital techniques for most areas of visual effects I'm far more conservative when it comes to animation. I know that digital techniques can open new creative possibilities while also being cheaper than traditional methods but I can't stand how absolute so much of the process has become. I'm just glad I got to see the final days of real cel animation.

I'm glad that I asked, thank you for the really great insights Sean =)
Your film—let people feel the soul and the heart there, but let it be made like a work of hands {R. Bresson}
One of the things I myself like more about feeling a hand (drawing, molding, scratching, erasing, etc.) behind the imaging is the (freeness of the) error, the imperfections and the very subtle and fresh variations... but technology it's such a bitch or better, we are her bitches :P

Indeed it's a subtle thing - many subtle things actually - and I don't remotely have the knowledge or experience to "understand" such changes... but I should be able to feel them {monkey hugging a rock}
I don't think there's any Miyazaki film I have watched so many times as this last one, also in such a variety of different situations/contexts from being with someone I was falling in love (end up in murder), to being alone or with my close primate family; from large screen to computer screen to huge cinema screen with proper surround sound.

Miyazaki has always had a crush for plains (flying beings/things) as I was about to discover in Porco Rosso (Kurenai no buta) first film from Miyazaki that I really watched and still today one of my favorites. Actually for me there's a phase that ends there Nausika, Castle, Totoro, Kiki's and Porco. From Mononoke on there's another way (maybe more epic or sophisticated) of "letting" the story and characters unfold; not talking so much technically but matter's of direction.

I would be lying if I said I didn't enjoy Miyazaki's following long features. But in this "final" The Wind Rises there is a uncommon communion of very peaceful, a bit sad (as all goodbyes are), fresh and subtly nuanced well balanced elements. When I was watching it for the third time I couldn't stop thinking about Kurosawa's Stray Dogs, maybe 'cause it has the same historicaly wounded perspective... also the digital artwork processing looked quite matured and well implemented. Another aspect of watching something so many times is that one is confronted with the fact of knowing the story, so either gets boring or the artwork matter offers something else. Each time I was kept under the spell of experiencing new wonders and nuances and layers... and this is something rather difficult to do. It also fascinated me how so many scenes were so close from becoming a cliche and still each time was there a fascinating "resolution", new approach within our threshed way of representing the world... curiosity!!!

To wrap-up this messy writing and hoping I can be forgiven for quoting again my fav R. Bresson's,
In this language of images, one must lose completely the notion of image. The images must exclude the idea of image. (Sounds like a Zen koan, but it is a simple declaration of the primacy of emotive engagement.)

I wander if Miyazaki was referring to (himself and) animation as a dream when
he chose Paul Valéry's The Graveyard By The Sea last verse:

The wind is rising! We must try to live

@BurnetRhoades what do you mean with "wobbly"?

@BurnetRhoades hey man, so good to "see" ya Sean =)
Did know this one, but many probably don't, anyway important thing 4 me to say is thank you for hiving it here

Just came from the cinema, watching for the 3rd time Kaze tachinu (The Wind Rises), probably Miyazaki's last.
Such profound beauty and sensitivity portraying the "good and bad things" without ever falling into cliches, such love 4 the characters, for the work and curiosity for life... I always laugh, cry and keep being surprised with the craftsmanship, dedication and passion, ufff. And the soundtrack and those sound effects made (almost all) with mouth and voices, so full, so colourfull... piercing the heart of life
 

 
The Dam Keeper • 2014

 
Credits:
Robert Kondo (Director)
Daisuke 'Dice' Tsutsumi (Director)
Zach Johnston and Matteo Roberts (Composers)
Erick Oh (Supervising Animator)
Bradley Furnish (Editor)
Duncan Ramsay (Producer)
Megan Bartel (Producer)

Still within the arty farty world but with completely different (virtual) approach, Jonathan Monaghan

When I watched an excerpt of Alien Fanfare I have to see I literally laugh out loud, those candelabras... ja ja ja.
Monaghan works mainly with Studio Max and in his creation one can find references to cinema and the history of art and iconic objects (of pop culture). Personally I like the "absurd imperfections" and total surreal elements in his videos/renders... a flying black pineapple egg with a bouncing pair of testicles it's just perfect example.

 
I commend you to read some of the interviews and articles, specially the 2014 ones - here.
Note that almost all videos here are excerpts and not the full shebang

 
Coincidently enough, this afternoon I was passing a "fine" neighbourhood and in a decor shop's window, other than the mandatory buddha, there were these very expensive... things, which seemed 3d renditions of a Jonathan Monaghan's videos imaginary.

 
An this snail shop can be part of it too, those are empty snails shells

Don't know if you guys know this one: Madame Tutli Putli

Today computer animation
 

Home Sweet Home • 2013

Credits:
A short movie by Pierre Clenet, Alejandro Diaz, Romain Mazevet and Stéphane Paccolat
made in Supinfocom Arles during our last year in 2013
Original music by Valentin Lafort.

La Détente • 2010

Pixar's Inside Out trailer • to be released mid 2015
 

@jleo LoL de re LOL on your LOL... mogul d'mongol gol goooolllL!!!

 
 
Today's Alan Becker's kickstart founded Animator vs. Animation IV • 2014

Credits:

Music by Sarah Eide

 
Previous 3 episodes

Animator vs. Animation III
Animator vs. Animation II
Animator vs. Animation