Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 2

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  Czech animation
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

Surreally Human: Jan Švankmajer’s World of Self-Destructive Puppets

100%
Chryssouli G.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
|
2015
|
vol. 18
|
issue 2
303-328
EN
This article explores the relation of Jan Švankmajer with the Czech puppet tradition, viewing his puppetry through a Surrealist prism and investigating the role of puppets in his work, as simultaneously inert objects and animated creatures that cross the dichotomous line between life and death, thereby raising questions in relation to human nature and identity. Jan Švankmajer is a leading Czech filmmaker and artist and a self-proclaimed militant surrealist. His work is characterised by a diversity of means and techniques, these include: live-action, puppets, clay modelling, traditional drawn animation, object collage, stop-frame special effects and stop-motion animation. Švankmajer’s fascination with the corporeality of an animated entity has been developed through a deep and strong affinity with traditional Czech theatre. His own professional background in the puppet theatres of Prague, the Theatre of Masks, the Black Theatre and the Laterna Magika Puppet Theatre has significantly influenced his work. Švankmajer’s work is the bearer of a magic function, revealing the marvellous through mystification. Švankmajer, like the alchemists of old, is continually distilling the water of his experiences so that through this process, the heavy water of knowledge, essential for the transmutation of life, begins to flow.
2
Content available remote

Forgotten Toyhood

84%
North D.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
|
2015
|
vol. 18
|
issue 2
329-346
EN
This essay explores the meanings and identities of toys and puppets in three Czech feature films, which collectively cover a range of animation techniques (constituting a new definition of what it means to ‘play’ with these toys). Jiří Bárta’s Na půdě aneb Kdo má dneska narozeniny (In the Attic: Who Has a Birthday Today?, 2009), Jan Svěrák’s Kuky se vrací (Kooky, 2010), and Jan Švankmajer’s Něco z Alenky (Alice, 1988) all build allegorical significance from tales in which toys take on independent lives, but are always framed through their relationships to children. Each film explores the afterlife of discarded or neglected toys, dolls, and puppets, a visual representation of the imaginative investment and cultural import given to these otherwise immobile things. All three directors use toys and puppets as markers of the passing of childhood, and as compendia of cultural memory, but with different degrees of political intent and social critique.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.