Journal Entry – Week 8

After World War II, the ideological clash between the Western (capitalist) and Eastern (communist) blocks left an obvious affect on animation. In the West, privately owned studios like Disney, Warner Bros, and MGM thrived, prioritizing entertainment and commercial success. They focused on innovative techniques, creating characters like Mickey Mouse that became globally recognized. Their films frequently drew on universal themes, fairy tales, and folklore, often featuring happy endings and clear moral lessons. This capitalist model fostered individual creativity and technical advancements but also resulted in a tendency towards formulaic storytelling aimed at mass appeal. The financial success of Western animation, particularly Disney’s merchandising empire, exemplifies this capitalist approach.

In contrast, Eastern block countries, heavily influenced by the Soviet Union, utilized animation as a tool for propaganda and education. State-run studios like Soyuzmultfilm in the USSR and the Dongbei Film Studio in China received government funding, enabling them to produce films that aligned with communist ideology and promoted national pride. Socialist Realism, emphasizing optimistic depictions of workers and societal progress, often dictated the aesthetic style. These films often adapted folktales and emphasized themes of collectivism and patriotism. While state funding facilitated experimentation and the development of unique artistic styles, such as the poetic works of Yuri Norstein or the stylized imagery of the Zagreb School, it also came with strict censorship. Films deemed critical of the communist regime, like Jiří Trnka’s “Ruka” (“The Hand”) in Czechoslovakia, faced suppression and bans. This stark contrast between the Western and Eastern approaches to animation underscores how the Cold War shaped artistic expression and cultural production.

The symbolism of the hand resonated with viewers as an allegory of life under totalitarian regimes, specifically critiquing the authoritarian nature of the communist government. The hand’s demands mirrored the state’s control over artists, who were expected to produce works in line with socialist realism and communist ideology, rather than exploring personal or politically sensitive themes. Trnka’s film presented this power struggle in a way that captured the oppression of creative freedom and individual expression under the regime.

The short film “The Hand” (1965) was seen as subversive by the communis government of Czech because it critiqued authoritarianism and the suppression of individual freedom. The hand, seen in the film is allegorical to the states oppressive power and control over the people. This is assumed as the hand controls every aspect on the protagonists life and destroys the flowerpots that the protagonist would make. The hand would decide what’s created or destroyed, turning the artist’s art into its own image, symbolizing how totalitarian regimes stifle free expression and individuality while censoring what would turn those against communism.

The film “The Hand” was seen subversive by the government because it was going aganist them.The message of the film portrayed that no matter what you do or how you try and get away from the “hand” you wont.This was what Jiri Trnka was trying to show people but the government didn’t want them to know this.Due to the fact that if they knew this they might be more open mind and would go against them.So The Czech Government did not approve of it.It would’ve gained alot of exposure and the communism would of been disapproved by people.