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1

FEW TAKES ON ANIMATION (Kilka obrazów animacji)

100%
Flig J.
Kwartalnik Filmowy
|
2009
|
issue 65
48-54
EN
In the article the term 'film animation' is considered in relation to non-animated films. Using the theory of Alan Cholodenko, the author tries to define the relation between the movement factor (animation) and the image (photograph, frame) of a film. Through the analysis of a number of pre-cinematographic works he identifies the defining terms of animation. The aim of the article is to answer the questions: What is animation in a non-animated film? Is it correct to talk about animation in the context of a non animated film? If so, then what is its status, and how does the animation manifest itself? The answer to these questions lies in the main thesis of the article: animation is not just a film a film sub-category. It is the film that participates in animation, thus gaining its defining element, that element being movement
2
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Judaizm wobec animacji ludzkiego embrionu

51%
Aleksiejuk A.
ELPIS
|
2011
|
vol. 13
|
issue 23-24
299-316
EN
According to biblical anthropology, human beings are composed of body and soul. The question arises, however, at what moment does the body of the embryo possess a spiritual element? Can the breath of God visit the created and already developing in its own biological rhythm embryo? The key issue here is the moment of animation - the origin of a living being, which is created in the image and likeness of God. This article presents various Jewish points of views on the animation of the human embryo, all of which attempt to determine the exact moment at which the soul is breathed into the human body. Rabbinical authorities distinguish five different moments in this process: conception, the forty first day after conception, the birth of the child, the moment of circumcision and the moment in which the child is able to say 'Amen.' The first three mentioned cases have the most supporters. The first refers to the simultaneous animation, while the other theories argue for successive animation.
3

Ciało i cielesność w sztuce animacji Jana Švankmajera

44%
Dabert D.
Slavica Wratislaviensia
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2011
|
vol. 153
769-778
EN
The text is devoted to the film works of Jan Švankmajer, one of the most famous Czech surrealists still alive. In his films the artist uses a technique that combines collage, drawing, dolls, objects and natural plastics with traditional feature movie in order to challenge the dichotomous order of the animate and inanimate world. Objects, which are brought to life, become empowered in the works of the Czech artist. Revealing the “corporeality” of inanimate matter becomes the leading idea of Švankmajer’s “tactile art,” according to which objects, thanks to the encoded memory of the human touch, are capable of reflecting various mental situations. A particular anthropomorphization of inanimate matter finds its counterbalance in reification activities that man is subjected to in the films of the Czech artist. The surreal world of Švankmajer’s imagination, drawing on the abundant tradition of European, but mainly Czech, surrealism, as well as other cultural inspirations, first of all asks questions regarding the indifferentism of the contemporary man and the tendencies of dehumanization in today’s world. The text constitutes an attempt to ponder on the concept of body and corporeality in the animation works of one of the most outstanding artists of the turn of the 20th and 21st centuries.
4
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REMEDIÁCIA AKO MANIPULOVANIE S OBRAZOM (NA PRÍKLADE FOTOGRAFIE)

44%
Suwara B.
World Literature Studies
|
2013
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vol. 5 (22)
|
issue 3
54 – 72
EN
Photography is considered to be an old media that remediated into the digital medium. Bolter and Grusin do not disapprove of the gesture of using new media within the old (subversive acting). The study presents this tendency on the example of specific literary works (from the current Polish and Slovak literatures), in which strategies of narration are obviously “discovered” by the authors under the influence of today’s image culture. Strategies of handling the photography used by the authors prove the fact that even the writers manipulate with the image in different ways. Modal framework of this kind of literary manipulation the photography is – surprisingly, like in the case of visual media – animation of the image.
5

SPROSTREDKOVANIE VÝTVARNÉHO UMENIA NÁVŠTEVNÍKOM GALÉRIÍ A MÚZEÍ UMENIA ZA POMOCI VYUŽITIA ANIMÁCIE A ARTETERAPIE

38%
Györgyfiová M.
Muzeológia a kultúrne dedičstvo
|
2016
|
vol. 4
|
issue 2
35 – 46
EN
Mediation of visual art using animations and art therapy is one of the processes commonly used in art galleries and museums in Western Europe to increase the public’s engagement with art. This paper discusses these methods and the potential for their application in Slovak galleries with the goal of making these methods more widely known and encourages their adoption in museum and gallery practice. In the first part, we examine the nature of art, its importance and its role in museum and gallery education. The second part of the paper then analyses the concept of gallery animation, its objectives, methods, typology and various ways of its implementation using specific examples. In the final section, the paper turns to the issue of mediation of visual art in art therapy and various ways of implementing the methodology in the conditions of Slovak art galleries and museums.
6
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ANIMACE LITURGIE

32%
Demel Z.
Studia theologica
|
2011
|
vol. 13
|
issue 1
99-120
EN
This paper deals with the animation of the liturgy. The general idea of animation is presented initially followed by a description of the animation of liturgy. Liturgical animation is a process which needs to be managed by a group of people: some of them participate in the animation directly and the others indirectly. The animateur, who is in charge of the liturgical celebration, plays an especially important role. He or she, along with others, develops the project and program of the liturgical celebration and then directs the process of its complete preparation. Animateurs of liturgy must have, of course, adequate qualities and abilities. After the realization of the liturgical celebration, an evaluating process has to follow, which has both immediate and later phases. The evaluation of the course of the liturgical celebration helps the animateur ensure the liturgy will be a celebration of the whole assembly, open for the activity of the Holy Spirit and thus fruitful, as well.
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