Soviet animation and the thaw of the 1960s: not only for children
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New Barnet [u.a.]
Libbey
2012
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | VIII, 248 S. zahlr. Ill. |
| ISBN: | 9780861967056 |
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Datensatz im Suchindex
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| adam_text | SOVIET ANIMATION
and the Thaw of the
1960s
Wot Only for Children
Laura Pontieri
m
Contents
Chapter 1
Chapter 2
Acknowledgements vii
Note on Transliteration and Translations viii
Introduction 1
From Propaganda to Children s Films: The Earliest
Beginnings and the Stalin Era of Soviet Animation 5
Insects in motion: the first Russian animated films 6
Moving caricatures and propaganda posters:
the beginning of Soviet drawn animation 6
Enlightening the masses: educational and scientific films 14
Entertaining and educating: the first animated films
for children 15
Waiting for eel animation: drawings and flat marionettes 18
Puppet and stop-motion animation 19
The Leningrad experience: book illustrations meet
avant-garde works in Mikhail Tsekhanovskii s films 22
The advent of sound: Tsekhanovskii s experiments 29
The 1930s: the last satirical animated films 36
A change of direction: animation for children only,
the Disney influence 38
The animation of World War II and the restrained
reawakening of political films 42
Animation after World War II: fables and folk art 44
Russian Animation of the Thaw in its Socio-Political
and Cultural Context 51
Khrushchev s Thaw: innovations and restrictions 51
Animation shifts in new directions: from the Stalin
Era to the Thaw 55
Space flights, sport, and the Scientific-
Technological Revolution 57
Propaganda and social criticism: new agitational films
on the problem of alcoholism 61
Satire in Soviet animation 65
Popular culture and western influence 69
From thematic to stylistic changes 75
Foreign influence on stylistic choices 78
General characteristics of the new stylistic tendencies 81
SOVIET ANIMATION and the Thaw of the 1960s
Chapter 3
Chapter 4
Chapter 5
Case Studies: Early 1960s 83
Introduction 83
Great Troubles (Bol shie ncpriiatnosti, Valentina and Zinaida
Brumberg, 1961) 85
Narration and self-reflexivity 86
Satire of contemporary society: stiliagi, parasitism,
and corruption 87
Style and language: children s language interprets
the Soviet reality 89
Spatial choices: unstable ground 96
Story of a Crime (Istoriia odnogo prcstuplciiiiti, Fedor Khitruk, 1962) 99
Violation of norms: crime and Kul turnost 99
New themes bring a new graphic style 105
The Soviet Union of the 1960s appears on the screen:
references and concretizations 108
Lack of boundaries in the relationship between
private and public: a semiotic reading 112
Play with different artistic languages results in
a comic effect 115
Russian Animation in the Second Half of the 1960s:
Between the Khrushchev Thaw and the
Brezhnev Stagnation 121
Context 121
Attacks on the bureaucrat: The Man in the Frame
{Chehwek v ramke, Fedor Khitruk, 1966) 124
Bureaucratic world once more under attack: There Once
Lived Koziaviit (Zhil-byl Koziat iu, Andrei Khrzhanovskii, 1966) 139
Animation as a means for political criticism: The Class
Harmonica (Stekliannaiagarmonika, Andrei Khrzhanovskii, 1968) 147
Conclusion: The Beginning of New Tendencies
Bibliography
Archival material
Soviet animation bibliography and works cited
Suggested readings on animation art and on critical
and historical works
Filmography
Soviet animated films 1910-1979
Films and TV programs on Soviet animation
World animated films cited
Index
169
183
183
184
211
217
217
240
240
241
VI
Soviet
Animation and the Thaw of the
1960s:
Not Only for Children shows how a new
phase in Soviet animation that emerged during the
1960s
was at the same time a
product of the post-Stalin Thaw and a means of fostering the new spirit and new
aesthetics of that era.
After presenting a brief overview of the production of animated films from its
origins until the late
1950s,
the book analyses the various factors that took Russian
animation from being, during the Stalin years, an artistic form dedicated to
children, to becoming a medium that addressed an adult public.
Successive close analyses of key films track the progression of new trends in
animation over the course of the
1960s,
starting with early attacks on social ills,
followed by covert and even open dissent, and culminating in a move away from
the political to give expression to the artist s subjective world.
The book draws on extensive archival research that has enabled the author to
reconstruct the dynamics within the Soviet animation studio
Soiuzmuľtfiľm,
as well as to explore the relationships between animators and the political
establishment.
Soviet Animation and the Thaw of the
1960s:
Not Only for Children offers a thorough
study of Soviet animated films of the
1960s
and uses the world of Soviet animation
to present the particular historical moment of the Thaw from a fresh and
unconventional point of view.
|
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