{"id":133,"date":"2024-12-12T00:03:24","date_gmt":"2024-12-12T00:03:24","guid":{"rendered":"https:\/\/openlab.bmcc.cuny.edu\/history-of-animation-mes160\/?page_id=133"},"modified":"2025-11-04T16:32:23","modified_gmt":"2025-11-04T16:32:23","slug":"week-8","status":"publish","type":"page","link":"https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/week-8\/","title":{"rendered":"Week 8"},"content":{"rendered":"<h1>International Development in Post War Animation<\/h1>\n<p>We will look at how different national animated productions developed in the aftermath of WWII, and how they were shaped by geo-political factors.<\/p>\n<p><span style=\"color: #666699\"><strong><em>Jump to the different sections with the links below:<\/em><\/strong><\/span><\/p>\n<p><span style=\"color: #666699\"><i><a style=\"color: #666699\" href=\"#overview\">Overview of the Post War Global Context<\/a> | <a style=\"color: #666699\" href=\"#great\">Great Britain <\/a> | <a style=\"color: #666699\" href=\"#canada\">Canada<\/a> | <a style=\"color: #666699\" href=\"#france\">France<\/a> |\u00a0<\/i><i><a style=\"color: #666699\" href=\"#japan\">Japan<\/a><\/i><i>\u00a0| <a style=\"color: #666699\" href=\"#china\">China<\/a> | <a style=\"color: #666699\" href=\"#ussr\">Soviet Union (USSR) <\/a>| <a style=\"color: #666699\" href=\"#czech\">Czechoslovakia<\/a> |<a style=\"color: #666699\" href=\"#zagreb\"> The Zagreb School<\/a> |\u00a0<\/i><em><a style=\"color: #666699\" href=\"#quiz2\">Assignment<\/a><\/em><\/span><\/p>\n<h2><strong><a name=\"overview\"><\/a>Overview of the Post War Global Context<\/strong><\/h2>\n<p><span style=\"font-weight: 400\">WWII (1939-1945) left much of the world in turmoil. The trauma of the Holocaust, the destruction of European cities, civilian casualties, the fall of fascist regimes, and the rise of Communist governments and censorship would lead to a complete shift in world economics, politics, and cultural output.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">In contrast to Europe, the USA (who had won the war with their allies: Great Britain and the Soviet Union) were experiencing a social and economic boom: policies encouraging returning soldiers to get an education and to buy homes led to the &#8220;baby boom&#8221; (a period marked by a significant increase of birth rate). Jobs were plentiful as f<\/span><span style=\"font-weight: 400\">actories which had been used to manufacture weapons were repurposed to produce consumer goods. <\/span><\/p>\n<p><span style=\"font-weight: 400\">It is important to note that these socially-minded policies did not apply to African-American veterans. Segregation, racial violence, and state racism were still the conditions under which African-American citizens lived for much of the late 1940s &#8211; 1960s. While the civil-rights movement led to many important legislations in the fight for equality, systemic racism is still alive and well today. The fact that African-America families weren&#8217;t given the same benefits as their white counterparts after WWII, accounts for a lot of the social disparities in today&#8217;s America.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">A sense of foreign threat, and belief in the need to maintain a strong military, was still very present in the USA after WWII&#8217;s victory. The Soviets (who had been the USA&#8217;s allies during the war) were now perceived as enemies as the two global powers vied for influence and control over the post-war world. While this fight never reached US soil (thus the term &#8220;<em>Cold\u00a0<\/em>War&#8221; (1947\u20131991)), it devastated many countries (i.e: Korea, Chile, Vietnam, Afghanistan &#8211; to name just a few) where the Soviet and American government provided resources to their respective supporters. The threat of a nuclear attack was also an everyday reality as the USSR and China acquired the bomb which had been used by the US to destroy Hiroshima &amp; Nagasaki during WWII. While Communist regimes were very restrictive and punitive &#8211; in some cases responsible for mass murder &#8211; America led its own type of censorship during the Cold War: the US government s<\/span><span style=\"font-weight: 400\">tarted investigating, prosecuting, and in some cases executing, its own citizens who were suspected of having communist ties. Artists such as Charlie Chaplin (filmmaker), Langston Hughes (poet), and Leonard Bernstein (composer) were &#8220;Blacklisted&#8221; (meaning that they weren&#8217;t allowed to work, publish, and\/or get funding), and some left the country.<\/span><\/p>\n<p><span style=\"font-weight: 400\">While the fight for political power was difficult at times, the US was winning on the cultural front: American popular-culture was flowing into many nations and becoming increasingly popular &#8211; including American animation which dominated worldwide distribution. Many<\/span><span style=\"font-weight: 400\">\u00a0nations emulated the Disney style, as in Italy\u2019s first feature-film <strong>\u201cLa Rosa di Bagdad\u201d (\u201cThe Rose of Baghdad\u201d)<\/strong> (1949) by Anton Gino Domenighini (the film was released in the US in 1952 and Julie Andrews even provided the princesse&#8217;s voice. See excerpt (3 min) below). <\/span><span style=\"font-weight: 400\">Governments were aware of the power of cinema and animation &#8211; both economically and culturally &#8211; and wanted local alternatives to American films.\u00a0In some countries, government funding was provided to encourage production and led to a thriving animation culture.\u00a0<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"The Rose of Baghdad  aka. The Singing Princess (1949\/ 1952) - Julie Andrews&#039; singing parts\" width=\"1140\" height=\"641\" src=\"https:\/\/www.youtube.com\/embed\/EBFrhpY_oSY?start=138&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<h3><strong><a name=\"great\"><\/a>Great Britain<\/strong><\/h3>\n<p>&#8220;At the end of WWII, Great Britain found itself at a major crossroads. Millions of its young men were returning home from fighting on the continent and needed jobs, medical care and help returning to the normalcy of peacetime. Furthermore, parts of Britain needed to be rebuilt after having been heavily bombed during the war, especially London, where Germany dropped thousands of bombs in less than a year during the London Blitz.\u00a0Among Britons, there was a general consensus that the country&#8217;s first post-war priority should be meeting the domestic needs of its citizens and cities before anything else. (&#8230;) [Clement] Attlee, who had been appointed Britain&#8217;s first ever Deputy Prime Minister during the war, won the election through claiming the Labour Party could rebuild Britain after the war better than the Conservative Party, whom he branded as a party fit only for wartime leadership. He was elected based on campaign promises that the Labour Party would focus on achieving and maintaining full employment in Britain, nationalize key industries and create an entirely free National Health Service.&#8221;<em> (from <a href=\"https:\/\/study.com\/academy\/lesson\/post-war-great-britain-reforms-industry-economy.html\">study.com<\/a>)<\/em><\/p>\n<p><span style=\"font-weight: 400\">In the 1940s, England became home to the largest private animation studio in Europe: <strong>Halas &amp; Batchelor Cartoon Films<\/strong> &#8211; \u00a0named after its founders Hungarian<strong> John Halas<\/strong> (1912-1995) &amp; <strong>Joy Batchelor<\/strong> (1914 &#8211; 1991) (who were also husband and wife). They b<\/span><span style=\"font-weight: 400\">alanced work in advertising, government-sponsored projects, entertainment films and more personal productions. They c<\/span><span style=\"font-weight: 400\">reated 70 war-effort themed films during WWII.\u00a0<\/span><span style=\"font-weight: 400\">After the war, the studio moved into educational and public-relations films.\u00a0<\/span><span style=\"font-weight: 400\">One popular series was centered around a character named Charley and was meant to introduce new government initiatives &#8211; such as urban planning in <strong>\u201cCharley in New Town\u201d<\/strong> (1948) by John Halas and Joy Batchelor (8 min) (see below) &#8211; to the public. <\/span><i><\/i><\/p>\n<p><iframe loading=\"lazy\" title=\"Halas &amp; Batchelor: Charley in New Town (1948) | BFI National Archive\" width=\"1140\" height=\"641\" src=\"https:\/\/www.youtube.com\/embed\/Ta_n1wLARKM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><span style=\"font-weight: 400\">They were also commissioned to create work for the US government to promote the Marshall Plan (an aid program wherein the\u00a0US gave billions of dollars to European countries to rebuild after the war in an effort to stem the growth of Communism), including \u201cShoemaker &amp; the Hatter\u201d and \u201cThink of the Future\u201d (both from 1949).\u00a0<\/span><span style=\"font-weight: 400\">The CIA partially financed the production of the studio\u2019s first feature film (1 h 12min) (and the first widely released British animated feature)<strong> \u201cAnimal Farm\u201d<\/strong> (1954) by John Halas &amp; Joy Batchelor (see below) &#8211; based on George Orwell\u2019s anti-communist parable.\u00a0The film did well at the box office and the reviews were favorable. The film was later distributed around the world by the United States Information Agency (USIA) through its overseas libraries. You can read more about the political context of the film&#8217;s production in <a href=\"https:\/\/www.theguardian.com\/culture\/2003\/mar\/07\/artsfeatures.georgeorwell\">&#8220;The cartoon that came in from the cold&#8221;<\/a> by Karl Cohen.<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"Animal Farm (1954)\" width=\"1140\" height=\"855\" src=\"https:\/\/www.youtube.com\/embed\/YGCo5Tva39s?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<h3><strong><a name=\"canada\"><\/a>Canada<\/strong><\/h3>\n<p><span style=\"font-weight: 400\">Canada did not have to rebuild its cities like European countries did, but its leaders used the end of WWII as an opportunity to modernize the nation&#8217;s industry and to strengthen its economy.\u00a0<\/span><span style=\"font-weight: 400\">Similarly to the USA, the fear of Communism led to repression against \u201cleft-wing agitators\u201d who were investigated and deported.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">The <strong>NFB (National Film Board of Canada)<\/strong> was established in 1939, and was i<\/span><span style=\"font-weight: 400\">nitially focused on documentary films. In 1941, they h<\/span><span style=\"font-weight: 400\">ired Scottish-born\u00a0<strong>Norman McLaren\u00a0<\/strong>(1914-1987) who laid the grounds for the animation unit. McLaren stayed at the NFB for his entire career and became one of the most influential animators in history. To this day,\u00a0the NFB is one of the most important government-funded film institutions (particularly for animation) in the world.<\/span><\/p>\n<p><span style=\"font-weight: 400\">McLaren Experimented with several techniques, including drawing, painting, scratching, pixilation (animation created using the movements of animate figures &#8211; usually people), modified-base technique (drawing, erasing and redrawing on a single surface), optical printing, stereoscopy etc.\u00a0<\/span><span style=\"font-weight: 400\">He documented all his films in a series of notes which explain his technical processes in detail and are<a href=\"http:\/\/www3.nfb.ca\/archives_mclaren\/notech\/NT_EN.pdf\"> available for free from the NFB website<\/a>. He m<\/span><span style=\"font-weight: 400\">ade effective public-information films but also personal films (60 in total). Some of his most famous works include:<\/span><\/p>\n<p><span style=\"font-weight: 400\"><strong>\u201cNow Is The Time\u201d<\/strong> (1951) (3 min) (see below) &#8221; along with &#8220;Around Is Around&#8221;, one of two 3-D films commissioned by the British Film Institute for the Festival of Britain. Photographed paper cutouts and images drawn directly on film stock were given single-frame animation. Stereoscopy was achieved by photographing and drawing two visuals (one for the left eye, one for the right eye) with controlled displacement of the elements in relationship to each other. The hand-drawn sound was also composed and recorded on two separate bands for stereoscopic playing.&#8221; <em>(from <a href=\"https:\/\/www.nfb.ca\/film\/now_is_the_time\/\">nfb.ca<\/a>)<\/em><\/span><\/p>\n<figure id=\"attachment_705\" aria-describedby=\"caption-attachment-705\" style=\"width: 2048px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/openlab.bmcc.cuny.edu\/mes-160-1300-f2021\/wp-content\/uploads\/sites\/608\/2021\/06\/Now_Is_the_Time_XL_iaKgzaZ.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-705\" src=\"https:\/\/openlab.bmcc.cuny.edu\/mes-160-1300-f2021\/wp-content\/uploads\/sites\/608\/2021\/06\/Now_Is_the_Time_XL_iaKgzaZ.jpg\" alt=\"now\" width=\"2048\" height=\"1152\" srcset=\"https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/Now_Is_the_Time_XL_iaKgzaZ.jpg 2048w, https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/Now_Is_the_Time_XL_iaKgzaZ-300x169.jpg 300w, https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/Now_Is_the_Time_XL_iaKgzaZ-1024x576.jpg 1024w, https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/Now_Is_the_Time_XL_iaKgzaZ-768x432.jpg 768w, https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/Now_Is_the_Time_XL_iaKgzaZ-1536x864.jpg 1536w, https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/Now_Is_the_Time_XL_iaKgzaZ-1110x624.jpg 1110w, https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/Now_Is_the_Time_XL_iaKgzaZ-528x297.jpg 528w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\" \/><\/a><figcaption id=\"caption-attachment-705\" class=\"wp-caption-text\">&#8220;Now is the Time&#8221; (1951) by Norman McLaren. Click <a href=\"https:\/\/www.nfb.ca\/film\/now_is_the_time\/\">here<\/a> to view full short (3 min) on the NFB&#8217;s website.<\/figcaption><\/figure>\n<p><span style=\"font-weight: 400\"><strong>\u201cNeighbours\u201d<\/strong> (1952) (8 min) (see below) <\/span><span style=\"font-weight: 400\">In this Oscar\u00ae-winning short film, Norman McLaren employs pixilation. He also did the sound design by using a technique called \u201cdirect-sound\u201d wherein he created images on cards that were photographed into the optical-sound region of the filmstrip, where they could be read by the projector. The result is a synthetic soundtrack that sounds somewhat like early video-games. He continued to experiment with direct sound throughout his career.<\/span><\/p>\n<figure id=\"attachment_704\" aria-describedby=\"caption-attachment-704\" style=\"width: 704px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/openlab.bmcc.cuny.edu\/mes-160-1300-f2021\/wp-content\/uploads\/sites\/608\/2021\/06\/neighbours.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-704\" src=\"https:\/\/openlab.bmcc.cuny.edu\/mes-160-1300-f2021\/wp-content\/uploads\/sites\/608\/2021\/06\/neighbours.jpg\" alt=\"neigh\" width=\"704\" height=\"396\" srcset=\"https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/neighbours.jpg 704w, https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/neighbours-300x169.jpg 300w, https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/neighbours-528x297.jpg 528w\" sizes=\"auto, (max-width: 704px) 100vw, 704px\" \/><\/a><figcaption id=\"caption-attachment-704\" class=\"wp-caption-text\">&#8220;Neighbours&#8221; (1953) by Norman McLaren. Click<a href=\"https:\/\/www.nfb.ca\/film\/neighbours_voisins\/\"> here<\/a> to view full short (8 min) on the NFB&#8217;s website.<\/figcaption><\/figure>\n<p><span style=\"font-weight: 400\">McLaren also served as an important ambassador for the NFB and for Canada in general, traveling to other countries to develop projects that would foster international understanding and collaboration. H<\/span><span style=\"font-weight: 400\">e took a year-long leave to work for the United Nations Education, Scientific and Cultural Organization (UNESCO) which promotes world peace and human rights through creative projects.<\/span><\/p>\n<p>To dive further into McLaren&#8217;s work, watch the full-feature (1 h 56 min) documentary\u00a0 <span style=\"font-weight: 400\"><a href=\"https:\/\/www.nfb.ca\/film\/creative_process_norman_mclaren\/\">\u201cCreative Process: Norman McLaren\u201d (1990) on the NFB website<\/a>.<\/span><\/p>\n<p><span style=\"font-weight: 400\">The NFB has funded many important animated films over the years &#8211; and still does. <strong>Evelyn Lambart<\/strong>\u00a0(1914-1999) and <strong>Ren\u00e9 Jodoin<\/strong>\u00a0(1920-2015) are two other important figures associated with the organization and McLaren in the post-war years.\u00a0<\/span><span style=\"font-weight: 400\">Evelyn Lambart was a close collaborator of McLaren but also made her own films, including <\/span><span style=\"font-weight: 400\"><strong>\u201cFine Feather\u201d<\/strong> (1968) (5 min) (see below) for which she used paper cut-outs.\u00a0<\/span><\/p>\n<figure id=\"attachment_699\" aria-describedby=\"caption-attachment-699\" style=\"width: 704px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/openlab.bmcc.cuny.edu\/mes-160-1300-f2021\/wp-content\/uploads\/sites\/608\/2021\/06\/Fine_Feathers_LG.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-699\" src=\"https:\/\/openlab.bmcc.cuny.edu\/mes-160-1300-f2021\/wp-content\/uploads\/sites\/608\/2021\/06\/Fine_Feathers_LG.jpg\" alt=\"lambert \" width=\"704\" height=\"396\" srcset=\"https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/Fine_Feathers_LG.jpg 704w, https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/Fine_Feathers_LG-300x169.jpg 300w, https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/Fine_Feathers_LG-528x297.jpg 528w\" sizes=\"auto, (max-width: 704px) 100vw, 704px\" \/><\/a><figcaption id=\"caption-attachment-699\" class=\"wp-caption-text\">&#8220;Fine Feathers&#8221; (1968)\u00a0by Evelyn Lambart. Click <a href=\"https:\/\/www.nfb.ca\/film\/fine_feathers\/\">here<\/a> to view full short (5 min) on the NFB&#8217;s website.<\/figcaption><\/figure>\n<p><span style=\"font-weight: 400\">Ren\u00e9 Jodoin co-direcetd some films with McLaren and directed abstract animated shorts &#8211; such as\u00a0<strong>\u201cRonde Carr\u00e9e\u201d (\u201cDance Squared\u201d)<\/strong> (1961) (3 min) (see below) &#8211; of his own.<\/span><\/p>\n<figure id=\"attachment_700\" aria-describedby=\"caption-attachment-700\" style=\"width: 704px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/openlab.bmcc.cuny.edu\/mes-160-1300-f2021\/wp-content\/uploads\/sites\/608\/2021\/06\/Dance-Squared_LG.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-700\" src=\"https:\/\/openlab.bmcc.cuny.edu\/mes-160-1300-f2021\/wp-content\/uploads\/sites\/608\/2021\/06\/Dance-Squared_LG.jpg\" alt=\"ronde\" width=\"704\" height=\"396\" srcset=\"https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/Dance-Squared_LG.jpg 704w, https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/Dance-Squared_LG-300x169.jpg 300w, https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/Dance-Squared_LG-528x297.jpg 528w\" sizes=\"auto, (max-width: 704px) 100vw, 704px\" \/><\/a><figcaption id=\"caption-attachment-700\" class=\"wp-caption-text\">&#8220;Ronde carr\u00e9e&#8221; (1961) by Ren\u00e9 Jodoin Click <a href=\"https:\/\/www.nfb.ca\/film\/ronde_carree\/\">here<\/a> to view full short (3 min) on the NFB&#8217;s website.<\/figcaption><\/figure>\n<h3><strong><a name=\"france\"><\/a>France<\/strong><\/h3>\n<p><span style=\"font-weight: 400\">The French animation industry was relatively small during the 1930s. Before the war, the m<\/span><span style=\"font-weight: 400\">ost prominent studio was <strong>Les G\u00e9meaux<\/strong> (see <a href=\"https:\/\/openlab.bmcc.cuny.edu\/mes-160-1300-f2021\/week-7\/\">week 7<\/a>). It was\u00a0<\/span><span style=\"font-weight: 400\">Founded by <strong>Paul Grimault<\/strong>\u00a0(1905-1994) and Andr\u00e9 Sarrut in 1936 and received financial support during the German occupation.\u00a0<\/span><span style=\"font-weight: 400\">At the end of the war, Grimault teamed up with poet and screenwriter <strong>Jaques Prevert<\/strong>\u00a0(1900-1977) to adapt a tale by Hans Christian Andersen into an animated short\u00a0 <\/span><span style=\"font-weight: 400\"><strong>\u201cLe Petit Soldat\u201d (\u201cThe Little Soldier\u201d)<\/strong> (1946) (10 min).\u00a0<\/span><span style=\"font-weight: 400\">The team also wrote a full-feature film that was completed years later, in 1979:\u00a0<strong>\u201cLe Roi et L\u2019Oiseau\u201d (\u201cThe King and the Mockingbird\u201d)<\/strong> (see trailer for restored version (1 min) below). Grimault makes very little use of dialogue ( &#8220;The Little Soldier&#8221; is entirely told in pantomime), and while the characters don&#8217;t have the fluidity or physicality of their Disney counterparts, the poetic narration, lavish backgrounds, and expressive movement was extremely influential in France and abroad (\u201cThe King and the Mockingbird\u201d\u00a0has been cited by the Japanese directors Hayao Miyazaki and Isao Takahata as an influence).\u00a0<\/span><\/p>\n<figure id=\"attachment_655\" aria-describedby=\"caption-attachment-655\" style=\"width: 1280px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/openlab.bmcc.cuny.edu\/mes-160-1300-f2021\/wp-content\/uploads\/sites\/608\/2021\/06\/image-w1280.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-655\" src=\"https:\/\/openlab.bmcc.cuny.edu\/mes-160-1300-f2021\/wp-content\/uploads\/sites\/608\/2021\/06\/image-w1280.jpg\" alt=\"soldat\" width=\"1280\" height=\"720\" srcset=\"https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/image-w1280.jpg 1280w, https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/image-w1280-300x169.jpg 300w, https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/image-w1280-1024x576.jpg 1024w, https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/image-w1280-768x432.jpg 768w, https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/image-w1280-1110x624.jpg 1110w, https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/image-w1280-528x297.jpg 528w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\" \/><\/a><figcaption id=\"caption-attachment-655\" class=\"wp-caption-text\">Still from &#8220;Le Petit Soldat&#8221; (1947).<\/figcaption><\/figure>\n<p><iframe loading=\"lazy\" title=\"THE KING AND THE MOCKINGBIRD - Trailer\" src=\"https:\/\/player.vimeo.com\/video\/112196276?dnt=1&amp;app_id=122963\" width=\"1140\" height=\"641\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\"><\/iframe><\/p>\n<p><span style=\"font-weight: 400\">Imre Hajd\u00fa, better known by his stage name, <strong>Jean Image <\/strong>(1910-1989). Worked in his native Hungary and in England<\/span><span style=\"font-weight: 400\">\u00a0before opening an animation school and studio in France &#8211; <strong>Jean Image Productions<\/strong> &#8211; in 1948. He p<\/span><span style=\"font-weight: 400\">roduced the first color, feature-length animated film in France: <strong>\u201cJeannot l\u2019Intr\u00e9pide\u201d (&#8220;Johnny the Giant Killer&#8221;)<\/strong> (1950) (see trailer (1 min) below). After which he m<\/span><span style=\"font-weight: 400\">ade one more feature-length film and transitioned to TV in 1960s. He was integral in the creation\u00a0of the Annecy International Animated Film Festival (still one of the most renowned International animation festivals) in 1959.<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"Jeannot l&#039;intr\u00e9pide\" width=\"1140\" height=\"641\" src=\"https:\/\/www.youtube.com\/embed\/Rbj0dqtuCGU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<h3><strong><a name=\"japan\"><\/a>Japan<\/strong><\/h3>\n<p><span style=\"font-weight: 400\">After the War, the Allied Forces installed a new order in Japan:\u00a0 the Japanese Army was dismantled, feudal culture (a very hierarchical system wherein\u00a0land ownership and its use was exchanged for military service and loyalty) was denounced and the emperor became a figurehead with no political control.\u00a0<\/span><span style=\"font-weight: 400\">All aspects of Japanese society, including the production of animation was affected.\u00a0<\/span><span style=\"font-weight: 400\">Films deemed feudalistic or anti-democratic were criticized and sometimes destroyed.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">Japanese animation already had a long animation history by the time of WWII.\u00a0<\/span><span style=\"font-weight: 400\"><strong>Noburo Ofuji<\/strong>\u00a0(1960-1961) was known for cutouts made of traditional Japanese chiyogami paper i<\/span><span style=\"font-weight: 400\">nfluenced by Lotte Reiniger (see <a href=\"https:\/\/openlab.bmcc.cuny.edu\/mes-160-1300-f2021\/week-2\/\">week 2<\/a>), such as in <strong>&#8220;The Golden Flower&#8221;<\/strong> (1929) (17 min) (see below).<\/span><\/p>\n<figure id=\"attachment_659\" aria-describedby=\"caption-attachment-659\" style=\"width: 1068px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/openlab.bmcc.cuny.edu\/mes-160-1300-f2021\/wp-content\/uploads\/sites\/608\/2021\/06\/Screen-Shot-2021-06-10-at-11.05.49-AM.png\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-659\" src=\"https:\/\/openlab.bmcc.cuny.edu\/mes-160-1300-f2021\/wp-content\/uploads\/sites\/608\/2021\/06\/Screen-Shot-2021-06-10-at-11.05.49-AM.png\" alt=\"flower\" width=\"1068\" height=\"738\" srcset=\"https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/Screen-Shot-2021-06-10-at-11.05.49-AM.png 1068w, https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/Screen-Shot-2021-06-10-at-11.05.49-AM-300x207.png 300w, https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/Screen-Shot-2021-06-10-at-11.05.49-AM-1024x708.png 1024w, https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/Screen-Shot-2021-06-10-at-11.05.49-AM-768x531.png 768w\" sizes=\"auto, (max-width: 1068px) 100vw, 1068px\" \/><\/a><figcaption id=\"caption-attachment-659\" class=\"wp-caption-text\">A still from &#8220;The Golden Flower&#8221; (1929) by Noburo Ofuji. Click<a href=\"https:\/\/animation.filmarchives.jp\/en\/works\/playen\/42165\"> here<\/a> to watch full short film (17 min).<\/figcaption><\/figure>\n<p><span style=\"font-weight: 400\">Other animators worked in a variety of styles. The trailer below (2 min) offers a sample of pioneering pre-WWII Japanese films by Noburo Ofuji, Kenzo Masaoka, and Mitsuyo Seo:<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"The Roots of Japanese Anime -- Until the End of WWII\" width=\"1140\" height=\"855\" src=\"https:\/\/www.youtube.com\/embed\/n7UtX80rJ1Q?start=27&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><span style=\"font-weight: 400\">The filmmaking industry became much more restrictive during the 1930s when Japan was engaged in several wars.\u00a0<\/span><span style=\"font-weight: 400\">In 1934, the Film Control Committee was initiated to put the film production under the jurisdiction of the government and it became increasingly difficult to import foreign films.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">One of the country\u2019s most important studios, <strong>Toei Doga<\/strong> was formally established in 1956 but its origins can be traced back to immediately after the war, when a lot of the artists that would become Toei Doga&#8217;s leading figures were hired by the Shin Nihon Dogasha studio.\u00a0<\/span><span style=\"font-weight: 400\">After a series\u00a0<\/span><span style=\"font-weight: 400\">of changes and mergers, the studio was finally purchased by Toei which had been focused on live-action productions until then. The studio q<\/span><span style=\"font-weight: 400\">uickly started creating films for the theatrical distribution, using tools and visual tropes similar to those used by Disney at the time (i.e: princesses, cute animals, linear narrative etc.).\u00a0<\/span><span style=\"font-weight: 400\">These were ambitious works that foreshadowed the great growth that Japan would experience over the next two decades and onward, eventually making it a world leader in animation production (see <a href=\"https:\/\/openlab.bmcc.cuny.edu\/mes-160-1300-f2021\/week-13\/\">week 13<\/a>).<\/span><strong>\u201cHakujaden\u201d (\u201cThe Tale of the White Serpent\u201d)\u00a0<\/strong>(1958) (see video analysis (5 min) below) by Teiji Yabushita\u00a0(1903 &#8211; 1986) and Kazuhiko\u00a0Okabe\u00a0is a great example of the post-war productions at Toei Doga. It was the first full-feature color anime, and was extremely influential. Some of the young animators who worked on the film would later become leaders in the industry. For example, <strong style=\"font-weight: 400\">Yasuo \u014ctsuka<\/strong>\u00a0(1931-2021) who worked on the catfish character later became a mentor and close collaborator of both Hayao Miyazaki and Isao Takahata.. Miyazaki himself has said of the film &#8220;I first fell in love with animation when I saw &#8220;The Tale of the White Serpent&#8221; (&#8230;). I can still remember the pangs of emotion I felt at the sight of the incredibly beautiful young female character, Bai-Niang, and how I went to see the movie over and over as a result.&#8221;<\/p>\n<p>The video and commentary by Stevem below (5 min) offers a good overview of the film, its production, aesthetic, and influence:<\/p>\n<p><iframe loading=\"lazy\" title=\"Legend of the White Serpent (1958) TOEI MONTH\" width=\"1140\" height=\"641\" src=\"https:\/\/www.youtube.com\/embed\/6udo27guSNM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<h3><strong><a name=\"china\"><\/a>China<\/strong><\/h3>\n<p><span style=\"font-weight: 400\">After WWII, China, which had been occupied by Japan until the end of the war, was torn between two political parties &#8211; the Kuomintang &#8211; led by Chiang Kai Shek, and the Communists &#8211; led by Mao Zedong.\u00a0In 1949, Mao&#8217;s forces defeated Chiang Kai Shek&#8217;s Nationalist government. But Mao&#8217;s\u00a0<\/span><span style=\"font-weight: 400\">promise of a class-free society, quickly turned into an authoritarian regime that would starve and murder its own citizens, and censor speech and culture.\u00a0<\/span><span style=\"font-weight: 400\">In the late 1950s, Mao launched the Cultural Revolution &#8211; an effort to &#8220;purify China of Western influences&#8221;, and to further suppress freedom of speech and information: n<\/span><span style=\"font-weight: 400\">ot only were Western books, music, films etc. banned, but universities were closed, and citizens who were considered intellectuals (i.e: lawyers, engineers, professors etc.) were sent to \u201cre-education\u201d camps on collective farms.\u00a0<\/span><span style=\"font-weight: 400\">During the cultural purge, a lot of China\u2019s history was destroyed, including animated films made before 1940.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">It\u2019s likely that the first Chinese animation dates to the early 1920s. The four <strong>Wan brothers<\/strong> were the most prominent animators at the time.\u00a0<\/span><span style=\"font-weight: 400\">They were exposed to and influenced by the Fleischer brothers&#8217; work (see <a href=\"https:\/\/openlab.bmcc.cuny.edu\/mes-160-1300-f2021\/week-6\/\">week 6<\/a>), and created the first Chinese animated films with sound:\u00a0<\/span><span style=\"font-weight: 400\">\u201cThe Camel\u2019s Dance\u201d (1935) &#8211; an adaptation of an Aesop fable.\u00a0<\/span><span style=\"font-weight: 400\">Although they were influenced by Western productions, the also warned against relying too much on American style and were strong advocates for developing a national aesthetic, and embracing Chinese traditions and humor instead. \u00a0<\/span><span style=\"font-weight: 400\">They directed the first Chinese full-feature animated film,<\/span><span style=\"font-weight: 400\"><strong> \u201cTie Shan Gongzhu\u201d (\u201cPrincess iron Fan\u201d)<\/strong> (1941) (1 h 12 min) (see below)<\/span><span style=\"font-weight: 400\"> &#8211; based on a character from a well-known story written in the 16th century. The film touches on Confucian, Taoist, and Buddhist principles.<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"Princess Iron Fan \u9435\u6247\u516c\u4e3b (1941) Cartoon \/ Anime subs English sub\" width=\"1140\" height=\"855\" src=\"https:\/\/www.youtube.com\/embed\/loqvh1cGXQA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><span style=\"font-weight: 400\">After WWII,\u00a0 the <strong>Dongbei Film Studio<\/strong> became a gathering place for some of China\u2019s most important animators:\u00a0<\/span><span style=\"font-weight: 400\"><strong>Chen Bo\u2019er<\/strong>\u00a0(1907\u20131951) was one of the central creative and administrative figures there. She was also the first woman to direct an animated film in China: \u201cHuang Di Meng\u201d (\u201cThe Emperor\u2019s Dream\u201d)(1947) &#8211; a stop-motion propaganda film critical of Chiang Kai Shek\u2019s party.\u00a0<\/span><span style=\"font-weight: 400\">The Wan brothers also eventually joined the studio in the late 1950s. In April 1957, Mao&#8217;s central government would begin funding and controlling the studio making it the nation&#8217;s first and official animation studio. Its<\/span><span style=\"font-weight: 400\">\u00a0official mission was to create films that were \u201centertaining, educational and Chinese in character\u201d.<\/span>\u00a0For example, <span style=\"font-weight: 400\"><strong>\u201cXiao ke DouZhao Ma Ma\u201d (\u201cWhere\u2019s Mama?\u201d)<\/strong> (1960) by Te Wei\u00a0 &amp; Qian Jajun (15 min)\u00a0<\/span>(see below)\u00a0<span style=\"font-weight: 400\">uses a technique that evokes traditional Chinese ink brush paintings.<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"xiao ke dou zhao mama\" width=\"1140\" height=\"855\" src=\"https:\/\/www.youtube.com\/embed\/SyzU_V1kOh0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><span style=\"font-weight: 400\">In the late 1960s, As the Cultural Revolution became more and more repressive and disastrous for the country\u2019s economy, the animation industry, like many other aspects of Chinese culture, nearly stopped and wouldn&#8217;t recover until the 1980&#8217;s.\u00a0<\/span><\/p>\n<h3><strong><a name=\"ussr\"><\/a>Soviet Union (USSR)<\/strong><\/h3>\n<p><span style=\"font-weight: 400\">The Soviet Army under Stalin\u2019s leadership was integral in the Allies&#8217; victory during WWII. After the war, the USSR (Union of Soviet Socialist Republics) vied for global power against the USA.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">Socialist Realism had been the required style of Soviet art since 1934: It was used as a propaganda tool to glorify the Communist agenda, and to emphasize optimism, bravery and patriotism. &#8220;Socialist Realist paintings and sculptures used naturalistic idealization to portray workers and farmers as dauntless, purposeful, well-muscled, and youthful.&#8221;<em> (from <a href=\"https:\/\/www.britannica.com\/art\/Socialist-Realism\">Britannica<\/a>).\u00a0<\/em><\/span><span style=\"font-weight: 400\">Soviet leaders recognized the popular appeal of films and animation and their power as educational and propagandist tools, thus supporting and controlling both industries heavily.\u00a0<\/span><\/p>\n<figure id=\"attachment_760\" aria-describedby=\"caption-attachment-760\" style=\"width: 750px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/openlab.bmcc.cuny.edu\/mes-160-1300-f2021\/wp-content\/uploads\/sites\/608\/2021\/06\/Boris-Vladimirski-Roses-for-Stalin-detail.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-760\" src=\"https:\/\/openlab.bmcc.cuny.edu\/mes-160-1300-f2021\/wp-content\/uploads\/sites\/608\/2021\/06\/Boris-Vladimirski-Roses-for-Stalin-detail-1024x683.jpg\" alt=\"\" width=\"750\" height=\"500\" srcset=\"https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/Boris-Vladimirski-Roses-for-Stalin-detail-1024x683.jpg 1024w, https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/Boris-Vladimirski-Roses-for-Stalin-detail-300x200.jpg 300w, https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/Boris-Vladimirski-Roses-for-Stalin-detail-768x512.jpg 768w, https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/Boris-Vladimirski-Roses-for-Stalin-detail.jpg 1200w\" sizes=\"auto, (max-width: 750px) 100vw, 750px\" \/><\/a><figcaption id=\"caption-attachment-760\" class=\"wp-caption-text\">A socialist realist painting: &#8220;Roses for Stalin&#8221; (1949) by Boris Vladimirsky<\/figcaption><\/figure>\n<p><span style=\"font-weight: 400\">The government-run animation <strong>Studio Soyuzmultfilm<\/strong> was founded in Moscow in 1936. Animators were paid by the government. It would become the largest studio in the USSR.\u00a0<\/span><span style=\"font-weight: 400\">At first it only produced hand-drawn animation, but stop-motion productions were also added to their roster in 1953.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">Adaptations of traditional stories were common because they tended to gain approval easily: Soviet ideology saw traditional stories as a means of promoting national pride that would appeal to all ages. For example, one of the\u00a0<\/span><span style=\"font-weight: 400\">studio\u2019s most popular films,\u00a0<\/span><span style=\"font-weight: 400\">\u201cIvashko i Baba Yaga\u201d(\u201cIvashko and Baba Yaga\u201d) (1938) by the Brumberg sisters (see below), is based on a well-known folktale. Perhaps the most well-known film produced during this era is<strong>\u00a0<\/strong><\/span><span style=\"font-weight: 400\"><strong>\u201cSnezhanaya Koroleva\u201d (\u201cThe Snow Queen\u201d)\u00a0<\/strong>(1957) by Lev Atamov (see below)- a <\/span><span style=\"font-weight: 400\">full-feature film (1 h 10 min) based on a story by Hans Christian Andersen. In 1959, the film was dubbed into English and released by Universal Pictures.\u00a0<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"Snezhnaya Koroleva [The Snow Queen] [USSR] [1957]\" width=\"1140\" height=\"855\" src=\"https:\/\/www.youtube.com\/embed\/O27SWYDPEO8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>The volume of filmmaking increased (at the peak of production, by the beginning of the 1970s, the studio released more than 30 films a year), including annual production of feature films.<\/p>\n<p><strong>Valentina <\/strong>(1899 &#8211; 1975) and <strong>Zinaida <\/strong>(1900 &#8211; 1983) <strong>Brumberg<\/strong> (also known as the Brumberg Sisters) were leading figures at the Soyuzmultfilm Studio which they joined in 1936. In half a century they created around 50 films as animation directors, animators and screenwriters, always working together. While they worked in the Disney style during the first half of their career, they were amongst the first Soviet artists to embrace a modern, minimalistic style &#8211; as in<strong> &#8220;Bol&#8217;shie Nepriiatnosti&#8221; (&#8220;Great Troubles&#8221;)<\/strong> (1961) (10 min)\u00a0(see below).<\/p>\n<p><iframe loading=\"lazy\" title=\"\u0411\u043e\u043b\u044c\u0448\u0438\u0435 \u043d\u0435\u043f\u0440\u0438\u044f\u0442\u043d\u043e\u0441\u0442\u0438\" width=\"1140\" height=\"855\" src=\"https:\/\/www.youtube.com\/embed\/ZqtBclaSXPU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><strong>Yuri Norstein<\/strong> (born 1941) was trained at the Soyuzmultfilm vocational animation program and joined the studio when he graduated in 1961. His work is amongst the most unique, poetic and lauded in animation history. Many of his films are based on Russian children folktales. He used unhinged painted-cel cutouts to allow for fluid movement and easy replacement of body parts, as well as multi-layered backgrounds. <strong>Francesca Yarbusova<\/strong> (born 1942) &#8211; Norstein&#8217;s wife &#8211; is the art director for most of his films and created many of the character and background designs. <strong>&#8220;Hedgehog in the Fog&#8221;<\/strong> (1975) (10 min) \u00a0(see below) is a great example of Norstein and Yarbusova&#8217;s attention to detail, poetic narration, use of depth\/multiplane, and atmospheric elements.<\/p>\n<p><iframe loading=\"lazy\" title=\"Hedgehog in the fog\" src=\"https:\/\/player.vimeo.com\/video\/10330419?dnt=1&amp;app_id=122963\" width=\"640\" height=\"424\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\"><\/iframe><\/p>\n<p><strong>&#8220;A Tale of Tales&#8221;<\/strong> (1979) (29 min)\u00a0(see below) is the filmmakers&#8217; best known work (it has been called &#8220;the greatest animated film of all the times&#8221; on many occasions). &#8220;It is Norstein&#8217;s ruminations on the ruthlessness of World War II, &#8220;though it&#8217;s not really my memories because I was only 4 when the war ended. It&#8217;s taking a few things that I remember from my very early childhood, but more generally, it&#8217;s a consideration of what is peace and what are those things that a person standing on the edge of a precipice of death cannot exist without &#8212; what are the things that are most essential and important?&#8221; <em>(from <a href=\"https:\/\/www.washingtonpost.com\/archive\/lifestyle\/1988\/04\/30\/the-animators-ideal\/2032bc30-f926-49e4-b314-9a5177ae1909\/\">&#8220;The Animator&#8217;s Ideal&#8221;<\/a> by Richard Harrington).\u00a0<\/em><\/p>\n<p><iframe loading=\"lazy\" title=\"\u0421\u041a\u0410\u0417\u041a\u0410 \u0421\u041a\u0410\u0417\u041e\u041a \/ TALE OF TALES (1979)\" src=\"https:\/\/player.vimeo.com\/video\/413289200?dnt=1&amp;app_id=122963\" width=\"1140\" height=\"641\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\"><\/iframe><\/p>\n<p>A section of the documentary &#8220;Magia Russica&#8221; (2004) by Yonathan and Masha Zur (see excerpt &#8211; 5 min &#8211; below) offers a behind-the-scene look at the making of &#8220;A Tale of Tales&#8221;.<\/p>\n<p><iframe loading=\"lazy\" title=\"Magia Russica - Yuri Norstein and Fyodor Khitruk about &quot;The Tale of Tales&quot;\" width=\"1140\" height=\"855\" src=\"https:\/\/www.youtube.com\/embed\/4aV9gB2tATE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>Norstein and Yarbusova have been working on an animated feature film\u00a0adaptation of Nikolai Gogol&#8217;s &#8220;The Overcoat&#8221; since 1981. Around 25 minutes were completed by 2004.\u00a0However, as of 2021, the film remains unfinished, and its production time of 40 years is the longest for any animated motion picture in history.<\/p>\n<h3><strong><a name=\"czech\"><\/a>Czechoslovakia<\/strong><\/h3>\n<p>From the Communist coup d&#8217;\u00e9tat in February 1948 to the Velvet Revolution in 1989 (a\u00a0non-violent transition to a parliamentary republic), Czechoslovakia was ruled by the Communist Party of Czechoslovakia and belonged to the Eastern Bloc (&#8220;the group of socialist states of Central and Eastern Europe, East Asia, and Southeast Asia under the influence of the Soviet Union and its ideology (socialism) that existed during the Cold War (1947\u20131991) in opposition to the capitalist Western Bloc.&#8221; &#8211;\u00a0<em>from <a href=\"https:\/\/en.wikipedia.org\/wiki\/Eastern_Bloc\">Wikipedia<\/a><\/em>).<\/p>\n<p><span style=\"font-weight: 400\">Czechoslovakia&#8217;s long tradition of puppet theater can be felt in its animation output.\u00a0<\/span><span style=\"font-weight: 400\">The 18th century is considered a golden age of Czech puppetry: Typically, the puppets were intricately crafted wood characters with a detailed, exaggerated Baroque aesthetic, but nondescript facial expression, which meant they had to convey feelings through movement.\u00a0<\/span><\/p>\n<figure id=\"attachment_678\" aria-describedby=\"caption-attachment-678\" style=\"width: 700px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/openlab.bmcc.cuny.edu\/mes-160-1300-f2021\/wp-content\/uploads\/sites\/608\/2021\/06\/czech-republic_04.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-678\" src=\"https:\/\/openlab.bmcc.cuny.edu\/mes-160-1300-f2021\/wp-content\/uploads\/sites\/608\/2021\/06\/czech-republic_04.jpg\" alt=\"puppet\" width=\"700\" height=\"1050\" srcset=\"https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/czech-republic_04.jpg 1000w, https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/czech-republic_04-200x300.jpg 200w, https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/czech-republic_04-683x1024.jpg 683w, https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-content\/uploads\/sites\/4298\/2021\/06\/czech-republic_04-768x1152.jpg 768w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><\/a><figcaption id=\"caption-attachment-678\" class=\"wp-caption-text\">The comic Czech character Ka\u0161p\u00e1rek on a horse. String puppet made of wood and fabric, 19th century.Collection: Ji\u0159\u00ed Vorel (Czech Republic). Photo: Vojt\u011bch Brtnick\u00fd<\/figcaption><\/figure>\n<p><span style=\"font-weight: 400\">Itinerant puppeteers traveled throughout Eastern Europe, performing well-known theatrical works and operas.\u00a0<\/span><span style=\"font-weight: 400\">Since they were itinerant they were hard to censor and were able to address political topics. While these performances were banned by the<\/span><span style=\"font-weight: 400\">\u00a0Nazies during the occupation,\u00a0<\/span><span style=\"font-weight: 400\">anti-fascist shows continued underground.\u00a0<\/span><span style=\"font-weight: 400\">Many puppeteers were arrested and sent to concentration camps.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\"><strong>Ji\u0159\u00ed Trnka<\/strong> (1912-1969) \u00a0is one of animation&#8217;s most heralded artists &#8211; he was c<\/span><span style=\"font-weight: 400\">onsidered a national hero because of the recognition he brought to Czechoslovakia with his puppet animation. &#8220;<\/span><span style=\"font-weight: 400\">After graduating from the Prague School of Arts and Crafts, Trnka created a puppet theater in 1936. This group was dissolved when World War II began, and he instead designed stage sets and illustrated books for children throughout the war. In 1945, he founded the animation studio <strong>Brat\u0159i v triku <\/strong>with Eduard Hofman and Ji\u0159\u00ed Brde\u010dka. While hist first films used 2D animation,\u00a0<\/span><span style=\"font-weight: 400\">Trnka did not feel comfortable with traditional animation, which in his opinion required too many intermediaries that prevented him from freely expressing his creativity.&#8221; <em>(from <a href=\"https:\/\/en.wikipedia.org\/wiki\/Ji\u0159%C3%AD_Trnka\">Wikipedia<\/a>)<\/em> In the fall of 1946 he started creating puppet animation films. While h<\/span><span style=\"font-weight: 400\">e created the characters featured in his films, he never animated himself. He also d<\/span><span style=\"font-weight: 400\">idn\u2019t create replacement heads for his puppets, following in the footsteps of traditional Czech puppetry wherein feelings had to be expressed through motion. \u00a0His m<\/span><span style=\"font-weight: 400\">ost famous (and last) film is\u00a0<\/span><strong>\u201cRuka\u201d <\/strong><span style=\"font-weight: 400\"><strong>(\u201cThe Hand\u201d)<\/strong> (1965)\u00a0(18 min) (see below)\u00a0<\/span><span style=\"font-weight: 400\">&#8211; a parable for an oppressive government (not unlike that of Czechoslovakia&#8217;s communist party at the time) hindering the artist\u2019s creativity. The\u00a0<\/span><span style=\"font-weight: 400\">Czech government saw the film as subversive and refused to distribute it.\u00a0<\/span><span style=\"font-weight: 400\">Trnka died a few years later without making another film.<\/span><\/p>\n<p>Link to the film: <a href=\"https:\/\/www.youtube.com\/watch?v=79Ce_f-3Fac\">https:\/\/www.youtube.com\/watch?v=79Ce_f-3Fac<\/a><\/p>\n<p>The short documentary (12 min) &#8220;Jiri Trnka &#8211; Czech Pupper Animation Master&#8221; (1967), provides a good overview of his life and work.<\/p>\n<p><iframe loading=\"lazy\" title=\"Jiri Trnka Puppet Master\" width=\"1140\" height=\"641\" src=\"https:\/\/www.youtube.com\/embed\/Es17BFf6F-I?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><span style=\"font-weight: 400\">Brat\u0159i v triku is still active today and has released many award-winning films over the years created with an array of different techniques, including <strong>&#8220;Munro&#8221;<\/strong> (1960)\u00a0by <strong>Gene Deitch<\/strong>\u00a0(1924-2020) and written by Jules Feiffer (a famous American cartoonist and author) (8 min)\u00a0(see below) \u00a0which won the won an Oscar for Best Animated Short Film in 1961.\u00a0The UPA (see <a href=\"https:\/\/openlab.bmcc.cuny.edu\/mes-160-1300-f2021\/week-9\/\">week 9<\/a>) animator Gene Deitch became associated with the studio after a 10-day business trip in the late 1950s during which he met his wife,<strong> Zdena Deitchov\u00e1\u00a0<\/strong>(born 1928), an animator who would become the studio&#8217;s director of operations. In his memoir he wrote:\u00a0<\/span>\u201cWe (UPA) were doing something completely different than Disney did. If you worked for Disney you had to learn how to draw Mickey Mouse, if you worked for Warner Brothers you had to learn how to draw Bugs Bunny, MGM, you had to draw Tom and Jerry. But UPA came out with the idea that we didn\u2019t want to have standard characters, we wanted to be able to have a different style for every film according to the story. And so when I came here to Prague, the amazing thing was that they were doing exactly the same thing, and we\u2019d thought we were just absolutely the originators of this idea! And the Czechs had been doing it all the time. And I thought, my god, it\u2019s amazing, here we are behind the Iron Curtain, they\u2019re seemingly fifty years behind us in everything else, but when it came to art, they were right up there.\u201d<\/p>\n<p><iframe loading=\"lazy\" title=\"Gene Deitch - Munro\" width=\"1140\" height=\"855\" src=\"https:\/\/www.youtube.com\/embed\/M_cH8aDlHsE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><b>Jan \u0160vankmajer<\/b>\u00a0(born 1934)\u00a0is another leading figure of the Czech post-war animation scene. His animated films are also influenced by the Czech theater tradition. &#8220;Mr. Svankmajer was 13 when Czechoslovakia came under Communist rule. He studied theater directing and puppeteering, and worked at the Semafor playhouse in Prague before joining the Laterna Magika, an experimental company sometimes called the world\u2019s first multimedia theater. In the 1960s, he joined the Czech Surrealist Group and applied its principles to his art.\u00a0\u201cThe audiences were leaving my productions disgusted,\u201d he said, because they couldn\u2019t understand the avant-garde aesthetics.\u201cThat was when I realized that cinema is like a kind of time capsule, like a can where you can preserve a stage production and wait for the viewer,\u201d he said. \u201cI decided to focus on using the language of cinema.\u201d\u00a0But making films in the Czech studio system meant that Mr. Svankmajer had to submit his proposals for approval, then submit the scripts, then the final film, and the censors could always reject the film at any stage. In 1974, after his film \u201cLeonardo\u2019s Diary\u201d was presented at the Cannes Film Festival, his work was condemned by a pro-government newspaper. The movie he was working on at the time, \u201cCastle of Otranto,\u201d came under greater scrutiny, and censors demanded he make many changes. Mr. Svankmajer refused and as a result was banned from filmmaking. He could not finish his movie until 1979 when the prohibition was lifted. (&#8230;) Mr. Svankmajer\u2019s films combine many animation techniques, including claymation, drawn animation, montage, puppetry and stop-motion, sometimes using actors for live-action as well. He often darkens the mood by incorporating exaggerated sounds, like high-volume slurping or chewing, or juxtaposing lilting classical music over unsettling images.&#8221; <em>(from <a href=\"https:\/\/www.nytimes.com\/2018\/12\/20\/movies\/jan-svankmajer-amsterdam-eye-filmmuseum.html\">&#8220;The \u2018Godfather of Animated Cinema\u2019 Makes More Than Just Movies&#8221;<\/a> by Nina Siegal)<\/em><\/p>\n<p><strong>&#8220;Dimensions of Dialogue&#8221;<\/strong> (1982) (11 min) (see below) is a great example of \u0160vankmajer\u00a0aesthetic and\u00a0tone.<\/p>\n<p><iframe loading=\"lazy\" title=\"Dimensions of Dialogue (Jan Svankmajer)\" width=\"1140\" height=\"641\" src=\"https:\/\/www.youtube.com\/embed\/L-gGpWpra-g?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<div id=\"NYT_MAIN_CONTENT_2_REGION\" class=\"css-9tf9ac\">\n<div>\n<section id=\"02Offstage-RSVP-floating\" class=\"interactive-content interactive-size-scoop css-1lvqujg\">\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\">\n<div id=\"c-col-editors-picks\" class=\"css-j64t31\">\n<article class=\"css-5raq8g\">\n<h2 class=\"css-1rcvpgy\"><strong><a name=\"zagreb\"><\/a>The Zagreb School<\/strong><\/h2>\n<\/article>\n<\/div>\n<\/aside>\n<\/section>\n<\/div>\n<\/div>\n<p><span style=\"font-weight: 400\">After the war, Yugoslavia was led by Tito &#8211; a dictator who established rule through tight military control. He did not follow strict Communist party lines and Yugoslavia was regarded as relatively liberal compared to other Eastern Block countries. Artists did not have to adhere to \u201cSocialist Realism\u201d and were thus able to develop a unique approach to animation early on. \u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">During the 1950s, artists using a modern-art style and subject matter geared at mature viewers became known as the \u201cZagreb School\u201d of animation (named after the capital of Croatia).\u00a0<\/span><span style=\"font-weight: 400\">They worked in a state-run studio \u201cZagreb Film\u201d.\u00a0<\/span><span style=\"font-weight: 400\">It operated like an artist\u2019s workshop, producing many creator-driven, short personal films, as well as animated series and educational films.\u00a0<\/span><span style=\"font-weight: 400\">Its directors rejected Disney methods and were looking towards the mid century aesthetic taking hold in the 1950s (see <a href=\"https:\/\/openlab.bmcc.cuny.edu\/mes-160-1300-f2021\/week-9\/\">week 9<\/a>).\u00a0<\/span><span style=\"font-weight: 400\">Their approach was characterized by the use of streamlined, geometric forms, stylized characters, graphically oriented layouts, and limited animation, as in\u00a0<\/span><span style=\"font-weight: 400\"><strong>Dusan Vukotic<\/strong>&#8216;s (1927 &#8211; 1998)\u00a0<\/span><span style=\"font-weight: 400\"><strong>\u201cErsatz\u201d<\/strong>(1961) (10 min) (see below) &#8211; which won the Oscar for best animated short.\u00a0<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"Surogat proper Yugoslavian short films\" width=\"1140\" height=\"641\" src=\"https:\/\/www.youtube.com\/embed\/EjWXxfZ252I?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><span style=\"font-weight: 400\"><strong>Borivoj Dovnikovic<\/strong>&#8216;s (born 1930) &#8211; another leading figure of the Zagreb School &#8211; worked in several media and started animating films in the early 1960s. In\u00a0<\/span><span style=\"font-weight: 400\"><strong>\u201cZnatiizelja\u201d (\u201cCuriosity\u201d)<\/strong> (1966) (8 min) (see below), the images are created from relatively simple line drawings on white paper, allowing for a lot of experimentation with depth and changing environments, which are drawn into the scene and then removed. \u00a0He h<\/span><span style=\"font-weight: 400\">elped establish the Zagreb International Animation Festival &#8211; still one of the most respected Animation Festivals in the world &#8211;\u00a0 in 1972.<\/span><\/p>\n<p><a href=\"https:\/\/www.youtube.com\/watch?v=h48U6kUMS_c\">https:\/\/www.youtube.com\/watch?v=S6rD0HMywRc<\/a><\/p>\n<hr \/>\n<h2><strong><a name=\"quiz2\"><\/a><span style=\"color: #ff00ff\">ASSIGNMENT: <\/span><\/strong><span style=\"color: #ff00ff\"><strong>Review for Quiz 2<\/strong><\/span><\/h2>\n<ul>\n<li>Quiz 1 will consist of 10 multiple choice questions taken on Brightspace. You will have 20 minutes to complete it once you start. Please review all films and concepts covered during weeks 4 &#8211; 8.<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>International Development in Post War Animation We will look at how different national animated productions developed in the aftermath of WWII, and how they were shaped by geo-political factors. Jump to the different sections with the links below: Overview of the Post War Global Context | Great Britain | Canada | France |\u00a0Japan\u00a0| China | [&hellip;]<\/p>\n","protected":false},"author":21,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"portfolio_post_id":0,"portfolio_citation":"","portfolio_annotation":"","openlab_post_visibility":"","footnotes":""},"class_list":["post-133","page","type-page","status-publish","czr-hentry"],"_links":{"self":[{"href":"https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-json\/wp\/v2\/pages\/133","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-json\/wp\/v2\/users\/21"}],"replies":[{"embeddable":true,"href":"https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-json\/wp\/v2\/comments?post=133"}],"version-history":[{"count":22,"href":"https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-json\/wp\/v2\/pages\/133\/revisions"}],"predecessor-version":[{"id":6578,"href":"https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-json\/wp\/v2\/pages\/133\/revisions\/6578"}],"wp:attachment":[{"href":"https:\/\/openlab.bmcc.cuny.edu\/mes160-f25\/wp-json\/wp\/v2\/media?parent=133"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}