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Course lectures SPRING semester 2015
Lecture topics of Michal Bobrowski
I. Polish School of Animation
Animated film as a medium of Social and Political Message
As in other countries of Eastern Block, in Poland animation made it
possible for artists to metaphorically evoke social tensions and
smuggle content forbidden by censorship. The lecture will focus on
chosen filmmakers (mostly affiliated with Polish School of Animation)
whose work is imbued with spirit of what Jan Lenica once described as
“artistic contraband”. Using various authorial strategies - from
sharp satire and parody of socialist realism (A Chair/ Fotel, 1963,
Daniel Szczechura; Karol, 1966, Daniel Szczechura; Sharp, Involved
Film/ Ostry film zaangażowany, 1979, Julian “Antonisz” Antoniszczak)
through metaphorical reflection on intellectual enslavement (Cages/
Klatki, 1966, Mirosław Kijowicz), to open indictment of totalitarian
destructiveness (The Sack/ Worek, 1967, Tadeusz Wilkosz) – the
filmmakers commented on relation between individual and authoritarian
system. The topic with be completed by short review of films made in
1980s by a distinguished continuator of Polish School of Animation,
Krzysztof Kiwerski, whose works such as The Vowel/ Samogłoska,
1981 or Order Must Be/ Porządek musi być, 1988 trace and analyze
the irreversible mechanisms of crushing subjectivity and creating “homo
sovieticus” mentality.
II. Dangerous liaisons of art and technology
The cinema of Zbigniew Rybczyński
The lecture is dedicated to work of Zbigniew Rybczyński – artist who
constantly exposes and transgresses the limits of cinematic vocabulary,
an author of such masterpieces as Soup/ Zupa, 1974; New Book/ Nowa
książka, 1976; Tango, 1980; The Orchestra, 1980. Although Zbig is not a
story-teller in a traditional sense of this term, it’s possible to
point out certain distinctive features and motifs of his work. He was
never a pure formalist. Technology itself, however important, remained
Rybczyński’s tool, not an autonomous goal. Advanced analog and later
digital devices provided him with a complex language that allowed
depicting subjects of hidden reality of subconscious. Zbig neglects any
holistic interpretations of his achievements what some critics read as
a specific, artistic pose. Nonetheless several correspondences betoken
peculiar integrity of his works. Recognizable poetics of nonsense and
absurd reveals in a mysterious choreography of everyday rituals and
phenomena of repeatability while filmmaking substance is exposed for
viewers’ reception. The topic will be supplemented with comments on
other seminal visionaries and experimentalists of Polish animation –
Józef Robakowski, Krzysztof Kiwerski, Hieronim Neumann.
III. Animation and Philosophy
Adaptations of 14 tales from Lailonia Kingdom
In 1963 future giant of Polish philosophy, Leszek Kołakowski, wrote a
collection of allegorical fairy tales, humorously commenting ethical,
metaphysical and epistemological problems. From 1997 TV Studio of
Animated Films in Poznań has been producing short animations for youth
based on Kołakowski’s stories. Each film is made by different author,
who is given a complete artistic freedom, thus the series reveals the
variety of approaches and techniques (the most notable are Humps/
Garby, 1998, Marek Serafiński; Of the Quarrel of All Quarrels/O
największej kłótni, 1999, Zbigniew Kotecki; How God Maior Lost His
Trone/ Jak bóg Maior utracił tron, 1999, Piotr Muszalski, Paweł
Walicki). The lecture will refer to the context of life and work of
Leszek Kołakowski. The aim is to grasp a phenomena of the intellectual
metamorphosis, course of “crystallization” of Kołakowski’s
philosophical thought since youth period (II World War) to the
revisionist times (end of 1950s. until 1968). Interpretation of
animated philosophical fables demands interdisciplinary theoretical
perspective. Although animated film theory shares terminology with
live-action film theory, its constructions are autonomous. Hence it is
necessary to redefine the categories of realism, narrative and film
adaptation within the frames of animation. Inspiring concept of
“animasophy” was proposed by Ülo Pikkov in „Animasophy. Theoretical
Writings on Animated Film”. The reflection on animated film is a part
of wide contextual network of humanities. This point of view exposes
the limitations of simple dichotomy of avant-garde and children film.
IV. Between Esthetical Conservatism and Avant-garde
Historical review of Polish post-war animation.
The lecture will start with general remarks on main trends of Soviet
propaganda, viewed as a major intertextual context for all political
(both pro-regime and subversive) animated films made in Eastern
Block. In order to recognize richness and uniqueness of artistic
movement that appeared in Polish animation after the Khrushchev Thaw,
one must first become aware of political significance of animated films
during Cold War Era on both sides of the Iron Curtain. On the one hand
Animation served as a powerful tool of indoctrination and manipulation,
on the other hand became often suppressed but never muted voice of
social and political criticism or, in some cases, even camouflaged
rebellion. In Stalinist years Polish animation oscillated between
escapist themes rooted in folklore fables (In Times of Krakus King/ Za
króla Krakusa, 1947, Zenon Wasilewski) and socialist realism agitation.
The influence that socrealizm had on official animated production will
be illustrated not only by films made in early 1950s (A1, 1949,
Władysław Nehrebecki; For the New Tomorrow/ O nowe jutro, 1951, Leszek
Lorek) but also by children films from later periods (Colargol Goes to
Siberia/ Colargol na Syberii, 1974, Eugeniusz Ignaciak; / Bolek and
Lolek among Miners/ Bolek i Lolek wśród Górników, 1980, Stanisław
Dülz). The lecture will be completed with short introduction to Jan
Lenica’s and Walerian Borowczyk’s experimental explorations throughout
what was considered borders of animated film medium. Epitomic for all
that the censors feared, this new type of artistic cut-out animation
heralded the movement known as Polish School of Animation.
Lecture topics of Eliška Děcká
1. Animated Herstory
The History of Czech Animation Made by Women
Czech and Czechoslovak history of animated film is full of important
female authors who influenced greatly the course of animation history
and the comprehensiveness and acceptance of animation by general
public. Most of these women are unfortunately not so well known and
remembered.
However, there has been a new focus of Czech animation historians on
the evaluation of female animators’ work recently. This lecture will
emerge from this knowledge and will remind names (and work) of Czech
animation female pioneers such as Irena Dodalova, Hermina Tyrlova and
continue with other important Czech female authors Vlasta Pospisilova,
Nina Campulkova, Michaela Pavlatova etc.
The lecture will also raise the question of gender aspects and
differences of approaches between man and women authors in animation
(with the help of texts from animation theorists such as Paul Wells,
Jayne Pilling, Maria Lorenzo Hernandez etc.) and the possibilities of
the animated medium to overcome some stereotypes and make impact on
kids, teenagers and adults in general.
2. An Animated Mirrors
The Autobiographical Elements and Other Gender Aspects in the Work of Czech Female Animators
This lecture will follow up on previous mostly historical lecture and
move more from the historical perspective to the theory and analysis of
the inspirations and ideas behind some particular Czech/Czechoslovak
animated films made by female authors. Some of the arguments presented
in this lecture emerge from the finished thesis and current PhD
research of the lecturer which have used the methodology of oral
history in order to receive information directly from the authors and
analyze their own experiences.
Some of the topics included in this lecture will be: the animated
alter-ego, strong female heroines, the importance of movement,
character’s stereotypes, the power of exaggeration and symbolism etc.
Although the lecture will focus mostly on work of Czech animators (e.g.
Sona Jelinkova, Kristina Dufkova, Alexandra Hetmerova, Michaela
Pavlatova etc.) it will put their work in an international context and
show them as a part current wave of interesting female authors around
(not just) Visegrad countries.
The lecture will also try to show that animation is an ideal medium not
just for the representation of gender issues but also as a medium open
to all kinds of marginalized groups and social topics related to that.
3. Czechoslovak Animation as a Perfect Code
Czechoslovak animation and its role as a political medium within the communist censorship
This lecture will focus on the most important (and internationally
successful) era of Czech/Czechoslovak animation. On master examples of
puppet animation (Jiri Trnka, Jan Barta) or clay animation (Jan
Svankmajer) the lecture will analyze the important political and social
role of animation in the 60’s, 70’s and 80’s of the last century during
the communist era.
It will also talk about the phenomena of censorship
in general and think about in connection with a doctoral research of
the New Zealander animation theorist (with Czech origins) Lucie
Joschko about the transition of animation and its topics after
the end of politic censorship and possible beginning of a new kind of
censorship – a financial one.
4. From Communism to Democracy – From Serious to Sometimes Ridiculous
The transformation of Czechoslovak animation into Czech animation
The last lecture can be understood as a conclusion of the previous ones
with a focus on current Czech independent auteur animation field and
its obstacles as are seen by active Czech Animators and people involved
in independent animation community.
Most of the data used in this lecture comes from the
current PhD research by the lecturer – a doctoral candidate at The Film
and TV School (FAMU) in Prague. Through many interviews led with
animators, animation producers, festival programmer, animation students
and teachers, the actual real picture of today’s ups and downs of
today’s animation is starting to shape up.
The lecture will show beside the newest student
films a presentation of animation festivals and other active animation
community. The importance of active communities will be shown on the
theory of Imagined Communities of Benedict Anderson and its possible
relevance for the independent animation community in Central Europe.
COURSE LECTURES of the 2014 SPRING semester:
Lecture topics of Michal Bobrowski
I. Between Esthetical Conservatism and Avant-garde
Historical review of Polish post-war animation.
The lecture will start with general remarks on main trends of Soviet
propaganda, viewed as a major intertextual context for all political
(both pro-regime and subversive) animated films made in Eastern
Block. In order to recognize richness and uniqueness of artistic
movement that appeared in Polish animation after the Khrushchev Thaw,
one must first become aware of political significance of animated films
during Cold War Era on both sides of the Iron Curtain. On the one hand
Animation served as a powerful tool of indoctrination and manipulation,
on the other hand became often suppressed but never muted voice of
social and political criticism or, in some cases, even camouflaged
rebellion. In Stalinist years Polish animation oscillated between
escapist themes rooted in folklore fables (In Times of Krakus King/ Za
króla Krakusa, 1947, Zenon Wasilewski) and socialist realism agitation.
The influence that socrealizm had on official animated production will
be illustrated not only by films made in early 1950s (A1, 1949,
Władysław Nehrebecki; For the New Tomorrow/ O nowe jutro, 1951, Leszek
Lorek) but also by children films from later periods (Colargol Goes to
Siberia/ Colargol na Syberii, 1974, Eugeniusz Ignaciak; / Bolek and
Lolek among Miners/ Bolek i Lolek wśród Górników, 1980, Stanisław
Dülz). The lecture will be completed with short introduction to Jan
Lenica’s and Walerian Borowczyk’s experimental explorations throughout
what was considered borders of animated film medium. Epitomic for all
that the censors feared, this new type of artistic cut-out animation
heralded the movement known as Polish School of Animation.
II. Polish School of Animation
Animated film as a medium of Social and Political Message
As in other countries of Eastern Block, in Poland animation made it
possible for artists to metaphorically evoke social tensions and
smuggle content forbidden by censorship. The lecture will focus on
chosen filmmakers (mostly affiliated with Polish School of Animation)
whose work is imbued with spirit of what Jan Lenica once described as
“artistic contraband”. Using various authorial strategies - from
sharp satire and parody of socialist realism (A Chair/ Fotel, 1963,
Daniel Szczechura; Karol, 1966, Daniel Szczechura; Sharp, Involved
Film/ Ostry film zaangażowany, 1979, Julian “Antonisz” Antoniszczak)
through metaphorical reflection on intellectual enslavement (Cages/
Klatki, 1966, Mirosław Kijowicz), to open indictment of totalitarian
destructiveness (The Sack/ Worek, 1967, Tadeusz Wilkosz) – the
filmmakers commented on relation between individual and authoritarian
system. The topic with be completed by short review of films made in
1980s by a distinguished continuator of Polish School of Animation,
Krzysztof Kiwerski, whose works such as The Vowel/ Samogłoska,
1981 or Order Must Be/ Porządek musi być, 1988 trace and analyze
the irreversible mechanisms of crushing subjectivity and creating “homo
sovieticus” mentality.
III. Dangerous liaisons of art and technology
The cinema of Zbigniew Rybczyński
The lecture is dedicated to work of Zbigniew Rybczyński – artist who
constantly exposes and transgresses the limits of cinematic vocabulary,
an author of such masterpieces as Soup/ Zupa, 1974; New Book/ Nowa
książka, 1976; Tango, 1980; The Orchestra, 1980. Although Zbig is not a
story-teller in a traditional sense of this term, it’s possible to
point out certain distinctive features and motifs of his work. He was
never a pure formalist. Technology itself, however important, remained
Rybczyński’s tool, not an autonomous goal. Advanced analog and later
digital devices provided him with a complex language that allowed
depicting subjects of hidden reality of subconscious. Zbig neglects any
holistic interpretations of his achievements what some critics read as
a specific, artistic pose. Nonetheless several correspondences betoken
peculiar integrity of his works. Recognizable poetics of nonsense and
absurd reveals in a mysterious choreography of everyday rituals and
phenomena of repeatability while filmmaking substance is exposed for
viewers’ reception. The topic will be supplemented with comments on
other seminal visionaries and experimentalists of Polish animation –
Józef Robakowski, Krzysztof Kiwerski, Hieronim Neumann.
IV. Animation and Philosophy
Adaptations of 14 tales from Lailonia Kingdom
In 1963 future giant of Polish philosophy, Leszek Kołakowski, wrote a
collection of allegorical fairy tales, humorously commenting ethical,
metaphysical and epistemological problems. From 1997 TV Studio of
Animated Films in Poznań has been producing short animations for youth
based on Kołakowski’s stories. Each film is made by different author,
who is given a complete artistic freedom, thus the series reveals the
variety of approaches and techniques (the most notable are Humps/
Garby, 1998, Marek Serafiński; Of the Quarrel of All Quarrels/O
największej kłótni, 1999, Zbigniew Kotecki; How God Maior Lost His
Trone/ Jak bóg Maior utracił tron, 1999, Piotr Muszalski, Paweł
Walicki). The lecture will refer to the context of life and work of
Leszek Kołakowski. The aim is to grasp a phenomena of the intellectual
metamorphosis, course of “crystallization” of Kołakowski’s
philosophical thought since youth period (II World War) to the
revisionist times (end of 1950s. until 1968). Interpretation of
animated philosophical fables demands interdisciplinary theoretical
perspective. Although animated film theory shares terminology with
live-action film theory, its constructions are autonomous. Hence it is
necessary to redefine the categories of realism, narrative and film
adaptation within the frames of animation. Inspiring concept of
“animasophy” was proposed by Ülo Pikkov in „Animasophy. Theoretical
Writings on Animated Film”. The reflection on animated film is a part
of wide contextual network of humanities. This point of view exposes
the limitations of simple dichotomy of avant-garde and children film.
Lecture topics of Eliška Děcká
1. Animated Herstory
The History of Czech Animation Made by Women
Czech and Czechoslovak history of animated film is full of important
female authors who influenced greatly the course of animation history
and the comprehensiveness and acceptance of animation by general
public. Most of these women are unfortunately not so well known and
remembered.
However, there has been a new focus of Czech animation historians on
the evaluation of female animators’ work recently. This lecture will
emerge from this knowledge and will remind names (and work) of Czech
animation female pioneers such as Irena Dodalova, Hermina Tyrlova and
continue with other important Czech female authors Vlasta Pospisilova,
Nina Campulkova, Michaela Pavlatova etc.
The lecture will also raise the question of gender aspects and
differences of approaches between man and women authors in animation
(with the help of texts from animation theorists such as Paul Wells,
Jayne Pilling, Maria Lorenzo Hernandez etc.) and the possibilities of
the animated medium to overcome some stereotypes and make impact on
kids, teenagers and adults in general.
2. An Animated Mirrors
The Autobiographical Elements and Other Gender Aspects in the Work of Czech Female Animators
This lecture will follow up on previous mostly historical lecture and
move more from the historical perspective to the theory and analysis of
the inspirations and ideas behind some particular Czech/Czechoslovak
animated films made by female authors. Some of the arguments presented
in this lecture emerge from the finished thesis and current PhD
research of the lecturer which have used the methodology of oral
history in order to receive information directly from the authors and
analyze their own experiences.
Some of the topics included in this lecture will be: the animated
alter-ego, strong female heroines, the importance of movement,
character’s stereotypes, the power of exaggeration and symbolism etc.
Although the lecture will focus mostly on work of Czech animators (e.g.
Sona Jelinkova, Kristina Dufkova, Alexandra Hetmerova, Michaela
Pavlatova etc.) it will put their work in an international context and
show them as a part current wave of interesting female authors around
(not just) Visegrad countries.
The lecture will also try to show that animation is an ideal medium not
just for the representation of gender issues but also as a medium open
to all kinds of marginalized groups and social topics related to that.
3. Czechoslovak Animation as a Perfect Code
Czechoslovak animation and its role as a political medium within the communist censorship
This lecture will focus on the most important (and internationally
successful) era of Czech/Czechoslovak animation. On master examples of
puppet animation (Jiri Trnka, Jan Barta) or clay animation (Jan
Svankmajer) the lecture will analyze the important political and social
role of animation in the 60’s, 70’s and 80’s of the last century during
the communist era.
It will also talk about the phenomena of censorship
in general and think about in connection with a doctoral research of
the New Zealander animation theorist (with Czech origins) Lucie
Joschko about the transition of animation and its topics after
the end of politic censorship and possible beginning of a new kind of
censorship – a financial one.
4. From Communism to Democracy – From Serious to Sometimes Ridiculous
The transformation of Czechoslovak animation into Czech animation
The last lecture can be understood as a conclusion of the previous ones
with a focus on current Czech independent auteur animation field and
its obstacles as are seen by active Czech Animators and people involved
in independent animation community.
Most of the data used in this lecture comes from the
current PhD research by the lecturer – a doctoral candidate at The Film
and TV School (FAMU) in Prague. Through many interviews led with
animators, animation producers, festival programmer, animation students
and teachers, the actual real picture of today’s ups and downs of
today’s animation is starting to shape up.
The lecture will show beside the newest student
films a presentation of animation festivals and other active animation
community. The importance of active communities will be shown on the
theory of Imagined Communities of Benedict Anderson and its possible
relevance for the independent animation community in Central Europe.
COURSE LECTURES of the 2013 FALL semester:
Lectures were recorded and uploaded here .
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