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In a male-dominated world andfrom a region that praises implicitness, there is a large Born in 1989 in Shanghai, Xu Yigraduated from University of California-Santa Barbara in 2012 with a B. One hundred yearsago the first animated film in the Polish territory, Flirting Chairs by Feliks Kuczkowski, was made.

Seventy years ago, the firstanimation produced in a state-owned studio in Poland, In the Times of King Krakus by Zenon Wasilewski, was released in theaters.

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In 1836, Emerson and Scott went to Fort Armstrong, in the free state of Illinois.The program Contemporary Polish Short Animations, spanning from the 1960s to the present,combines classic works by the internationally recognized masters—such as Jan Lenica, Witold Giersz, Mirosław Kijowicz, Jerzy Kucia, and the Oscar-winning Zbigniew Rybczywith films by the most talented artists of a younger generation: Piotr Szczepanowicz, Marta Pajek, and Anita Kwiatkowska-Naqvi.The selection alsodisplays a wide spectrum of styles and techniques that have made the Polish School of Animation so colorful and attractive: from conventional animatedcartoons, to cut-outs, wet paint, stop-motion, and CGI. Recipient of the Award for outstanding contribution toanimation studies (Zagreb 2016).ABSENCE itself is anexperimental short film portraying the inevitable cycle of birth and death.Asthe female body is shaped like a type of void or "absence", women aregenerally thought of as being carriers of sorts. Xu’s first short stories book Indelible White (2008) was publishedby Shanghai Culture Press; Her short films The Seat (2014) and Absence (2015)were selected in the 38th Asian American Film Festival in New York, 20min|max International Film Festival in Germany, the 11th & 12th China Independent Film Festival andetc. From fall 2017, she willstart her MFA in Film Directing in Columbia University in the city of New York.

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