Ever wonder why Estonian animation features so many carrots or why cows often perform pyramids? Well, neither question is answered in Chris Robinson's new book, Estonian Animation. Robinson's frank, humorous, and thoroughly researched book traces the history of Estonia's acclaimed animation scene from early experiments in the 1930s to the creation of puppet (Nukufilm) and cel (Joonisfilm) animation studios during the Soviet era, as well as Estonia's surprising international success during the post-Soviet era. In addition, Robinson writes about the discovery of films by four 1960s animation pioneers who, until the release of this book, had been unknown to most Estonian and international animation historians.
Animation Behind the Iron Curtain is a journey of discovery into the world of Soviet era animation from Eastern Bloc countries. From Jerzy Kucia's brutally exquisite Reflections in Poland to the sci-fi adventure of Ott in Space by Estonian puppet master Elbert Tuganov to the endearing Gopo's little man by Ion Popescu-Gopo in Romania, this excursion into Soviet era animation brings to light magnificent art, ruminations on the human condition, and celebrations of innocence and joy. As art reveals the spirit of the times, animation art of Eastern Europe during the Cold War, funded by the Soviet states, allowed artists to create works illuminating to their experiences, hopes, and fears. The political ideology of the time ironically supported these artists while simultaneously suppressing more direct critiques of Soviet life. Politics shaped the world of these artists who then fashioned their realities into amazing works of animation. Their art is integral to the circumstances in which they lived, which is why this book combines the unlikely combination of world politics and animated cartoons. The phenomenal animated films shared in this book offer a glimpse into the culture and hearts of Soviet citizens who grew up with characters as familiar and beloved to them as Mickey Mouse and Bugs Bunny are to Americans. This book lays out the basic political dynamics of the Cold War and how those political tensions affected the animation industry in both the US and in the Eastern Bloc. And, for animation novices and enthusiasts alike, Animation Behind the Iron Curtain also offers breakout sections to explain many of the techniques and aesthetic considerations that go into this fascinating art form. This book is a must read for anyone interested in the Cold War era and really cool animated films!
A continuation of 1994’s groundbreaking Cartoons, Giannalberto Bendazzi’s Animation: A World History is the largest, deepest, most comprehensive text of its kind, based on the idea that animation is an art form that deserves its own place in scholarship. Bendazzi delves beyond just Disney, offering readers glimpses into the animation of Russia, Africa, Latin America, and other often-neglected areas and introducing over fifty previously undiscovered artists. Full of first-hand, never before investigated, and elsewhere unavailable information, Animation: A World History encompasses the history of animation production on every continent over the span of three centuries. Volume III catches you up to speed on the state of animation from 1991 to present. Although characterized by such trends as economic globalization, the expansion of television series, emerging markets in countries like China and India, and the consolidation of elitist auteur animation, the story of contemporary animation is still open to interpretation. With an abundance of first-hand research and topics ranging from Nickelodeon and Pixar to modern Estonian animation, this book is the most complete record of modern animation on the market and is essential reading for all serious students of animation history. Key Features: Over 200 high quality head shots and film stills to add visual reference to your research Detailed information on hundreds of never-before researched animators and films Coverage of animation from more than 90 countries and every major region of the world Chronological and geographical organization for quick access to the information you’re looking for
Russian and Soviet cinema occupies a unique place in the history of world cinema. Legendary filmmakers such as Sergei Eisenstein, Vsevolod Pudovkin, Dziga Vertov, Andrei Tarkovsky, and Sergei Paradjanov have created oeuvres that are being screened and studied all over the world. The Soviet film industry was different from others because its main criterion of success was not profit, but the ideological and aesthetic effect on the viewer. Another important feature is Soviet cinema’s multinational (Eurasian) character: while Russian cinema was the largest, other national cinemas such as Georgian, Kazakh, and Ukrainian played a decisive role for Soviet cinema as a whole. The Historical Dictionary of Russian and Soviet Cinema provides a rich tapestry of factual information, together with detailed critical assessments of individual artistic accomplishments. This second edition of Historical Dictionary of Russian and Soviet Cinema contains a chronology, an introduction, and a bibliography. The dictionary section has over 600 cross-referenced entries on directors, performers, cinematographers, composers, designers, producers, and studios. This book is an excellent access point for students, researchers, and anyone wanting to know more about Russian and Soviet Cinema.
A Companion to Eastern European Cinemas showcases twenty-five essays written by established and emerging film scholars that trace the history of Eastern European cinemas and offer an up-to-date assessment of post-socialist film cultures. Showcases critical historical work and up-to-date assessments of post-socialist film cultures Features consideration of lesser known areas of study, such as Albanian and Baltic cinemas, popular genre films, cross-national distribution and aesthetics, animation and documentary Places the cinemas of the region in a European and global context Resists the Cold War classification of Eastern European cinemas as “other” art cinemas by reconnecting them with the main circulation of film studies Includes discussion of such films as Taxidermia, El Perro Negro, 12:08 East of Bucharest Big Tõll, and Breakfast on the Grass and explores the work of directors including Tamás Almási, Walerian Borowczyk, Roman Polanski, Jerzy Skolimowski, Andrzej ̄u3awski, and Karel Vachek amongst many others
This book examines the role of memory in animation, as well as the ways in which the medium of animation can function as a technology of remembering and forgetting. By doing so, it establishes a platform for the cross-fertilization between the burgeoning fields of animation studies and memory studies. By analyzing a wide range of different animation types, from stop motion to computer animation, and from cell animated cartoons to painted animation, this book explores the ways in which animation can function as a representational medium. The five parts of the book discuss the interrelation of animation and memory through the lens of materiality, corporeality, animation techniques, the city, and animated documentaries. These discussions raise a number of questions: how do animation films bring forth personal and collective pasts? What is the role of found footage, objects, and sound in the material and affective dimensions of animation? How does animation serve political ends? The essays in this volume offer answers to these questions through a wide variety of case studies and contexts. The book will appeal to both a broad academic and a more general readership with an interest in animation studies, memory studies, cultural studies, comparative visual arts, and media studies. Chapter “Introduction” is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.
A contemporary analysis of the people, cultures, and society within the regions that make up Eastern Europe. Eastern Europe: An Introduction to the People, Lands, and Culture sheds light on modern-day life in the 16 nations comprising Eastern Europe. Going beyond the history and politics already well documented in other works, this unique three-volume series explores the social and cultural aspects of a region often ignored in books and curricula on Western civilization. The volumes are organized by geographic proximity and commonality in historical development, allowing the countries to be both studied individually and juxtaposed against others in the region. The first volume covers the northern tier of states, the second looks at lands that were once part of the Hapsburg empire, and the third examines the Balkan states. Each chapter profiles a single country—its geography, history, political development, economy, and culture—and gives readers a glimpse of the challenges that lie ahead. Vignettes on various topics of interest illuminate the unique character of each country.
The Baltic States of Estonia, Latvia, and Lithuania are thriving after hundreds of years of German colonization, numerous wars of conquest, and demographic Russification. Their cultures have survived, perhaps through a conscious effort to sustain many of their most ancient customs and traditions. Though the Baltic States are responding to modern and postmodern international trends, contemporary developments in the region's cultural life are part of an ongoing conversation about the way in which the Balts understand their histories, destinies, and national identities. This timely overview of the reemerging states portrays the Estonians, Latvians, and Lithuanians as they see themselves—through a historical lens. The Baltic States of Estonia, Latvia, and Lithuania are thriving after hundreds of years of German colonization, numerous wars of conquest, and demographic Russification. Their cultures have survived, perhaps through a conscious effort to sustain many of their most ancient customs and traditions. Though the Baltic States are responding to modern and postmodern international trends, contemporary developments in the region's cultural life are part of an ongoing conversation about the way in which the Balts understand their own histories, destines, and national identities. This timely overview of the reemerging states portrays the Estonians, Latvians, and Lithuanians as they see themselves—through a historical lens. The approach in each of the topical chapters is to generalize what is common among the three states and then to focus on each country in turn. Chapters on the land, people, and history; religion; marriage, family, gender, and education; holidays, cuisine, and leisure activities; language, folklore, and literature; media and cinema; performing arts; and art are a superb introduction to the Baltics and to the unique aspects of the countries. Lithuania's culture has been heavily influenced by Poland, and the capital, Vilnius, was a thriving center of Jewish learning until the Nazi years. Latvia is the most ethnically diverse and Russian-influenced. Estonia sees itself as a European country, indeed, Scandinavian.
Historical Dictionary of Animation and Cartoons is intended to provide an overview of the animation industry and its historical development. The animation industry has been in existence as long (some would argue longer) than cinema, yet it has had less exposure in terms of the discourse of moving-image history. This book introduces animation by considering the various definitions that have been used to describe it over the years. A different perception of animation by producers and consumers has affected how the industry developed and changed over the past hundred years. This second edition of Historical Dictionary of Animation and Cartoons contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 300 cross-referenced entries on animators, directors, studios, techniques, films, and some of the best-known characters. This book is an excellent resource for students, researchers, and anyone wanting to know more about animation and cartoons.
