The art of Czech animation: a history of political dissent and allegory
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London ; New York ; Oxford ; New Delhi ; Sydney
Bloomsbury Academic
2020
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Hier auch später erschienene, unveränderte Nachdrucke Includes bibliographical references |
| Beschreibung: | xii, 290 Seiten Illustrationen |
| ISBN: | 9781350104594 9781350194984 |
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Datensatz im Suchindex
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|---|---|
| adam_text | Contents List of Figures x Acknowledgements xi Prologue 1 The self-immolation of Jan Palach 1 Introduction 3 Political encoding of objects and things 3 Objective definition 4 A distinction between objects and things 4 Methodologies 6 Thing theory 6 Actor-network-theory 8 Rhythmanalysis 10 Materialist methodologies 11 A brief history of Czech animation 14 Pre-Second World War Czech animation 14 Post-Second World War Czech animation 15 Seko, Pojar and Mergl 18 Slovak animation 19 Czech animators focused upon Jiří Trnka 19 Jan Švankmajer 21 Jin Barta 23 Other animators 24 Recovering forgotten material 1 19 24 ‘It’s the simple things’: Animated allegories against Nazi and Soviet oppression 27 Overcoming the poverty of object analysis 27 Introduction to allegory 31
Contents viii Ambiguity and plurality in allegories 34 Allegory communicated through real objects 37 Objects of resistance in Revolution in Toyland 38 The springiness of the Springmans springs 45 Importance of objects to tradition in Vie Czech Year 48 The Emperor s Nightingale as a critique of artifice 51 Material history in Old Czech Legends 54 Oppressive gestures of‘a hand of state’ 2 3 61 Reading The Hand 64 Allegory’s limits Visual simile in Passion Technological abstraction in The Cybernetic Grandma 58 70 73 Simple objects and anti-political politics in Týrlová and Trnka 78 Politically non-political objects 82 Jan Švankmajer and the network of things 85 Introduction to Švankmajer 85 Švankmajer and censorship 86 Švankmajer’s relationship with Surrealism 88 How psychoanalysis is at once a useful tool for reading the objects of Švankmajer while also completely missing the point of the thing 91 An alternative in ANT 94 The Death of Stalinism in Bohemia: The most explicitly political of Švankmajer’s films 96 Death to anthropocentrism 100 A Picnic with Weissmann and non-human actants A civilization of stones 102 104 The political pessimism of Dimensions of Dialogue 107 Let the networks be as they are - Švankmajer vs. categorization The Flat’s network of dissident things 110 Not objects but things ~ in defence of indeterminacy 116 Concluding remarks: Latour - - Švankmajer 124 Jiří Barta and the rhythmic difficulties of living in, or with, time and space 127 Introduction ļ27 Rational time, charismatic time and natural time 129 113
Contents Jiří Barta: An ambivalent animator The loss of Green Wood and the defeat of natural time ix 133 137 Designing uniformity in The Design 148 Repeating uniformity in Disc Jockey 152 Twisted spirals and swollen shards: The sickened 4 rhythms of Hameln 153 Repeating the past in The Club of the Laid-Off 166 A hopeful repetition for the future? 174 Animators reconstructing Prague and Czech identity after the Velvet Revolution 177 Portrait of a city 177 Methodological multiplicity 180 Historicization of the objects of Prague 181 Undermining the ‘magic city’ of tourism in Faust 182 Networks of desire in Conspirators ofPleasure 186 Consumption as a desire older than consumerism 189 The Golem is Prague and Prague is the Golem 193 Just orbiting bodies in abstract space 198 Life among the dead in One Night in One City 200 Desiring rhythms in Tram 204 Surviving Life as an Insect 206 The citizen’s inner life is collective, public and dependent upon myths and stories 211 Twenty-first-century Czech animation 212 Political messages from past to present 218 Communication of political messages 222 A materialist turn 223 A silent language 224 Epilogue A materialist, not idealist ecocriticism 227 227 Notes 232 Bibliography շ52 Filmography 273 Index 281
|
| adam_txt |
Contents List of Figures x Acknowledgements xi Prologue 1 The self-immolation of Jan Palach 1 Introduction 3 Political encoding of objects and things 3 Objective definition 4 A distinction between objects and things 4 Methodologies 6 Thing theory 6 Actor-network-theory 8 Rhythmanalysis 10 Materialist methodologies 11 A brief history of Czech animation 14 Pre-Second World War Czech animation 14 Post-Second World War Czech animation 15 Seko, Pojar and Mergl 18 Slovak animation 19 Czech animators focused upon Jiří Trnka 19 Jan Švankmajer 21 Jin Barta 23 Other animators 24 Recovering forgotten material 1 19 24 ‘It’s the simple things’: Animated allegories against Nazi and Soviet oppression 27 Overcoming the poverty of object analysis 27 Introduction to allegory 31
Contents viii Ambiguity and plurality in allegories 34 Allegory communicated through real objects 37 Objects of resistance in Revolution in Toyland 38 The springiness of the Springmans springs 45 Importance of objects to tradition in Vie Czech Year 48 The Emperor's Nightingale as a critique of artifice 51 Material history in Old Czech Legends 54 Oppressive gestures of‘a hand of state’ 2 3 61 Reading The Hand 64 Allegory’s limits Visual simile in Passion Technological abstraction in The Cybernetic Grandma 58 70 73 Simple objects and anti-political politics in Týrlová and Trnka 78 Politically non-political objects 82 Jan Švankmajer and the network of things 85 Introduction to Švankmajer 85 Švankmajer and censorship 86 Švankmajer’s relationship with Surrealism 88 How psychoanalysis is at once a useful tool for reading the objects of Švankmajer while also completely missing the point of the thing 91 An alternative in ANT 94 The Death of Stalinism in Bohemia: The most explicitly political of Švankmajer’s films 96 Death to anthropocentrism 100 A Picnic with Weissmann and non-human actants A civilization of stones 102 104 The political pessimism of Dimensions of Dialogue 107 Let the networks be as they are - Švankmajer vs. categorization The Flat’s network of dissident things 110 Not objects but things ~ in defence of indeterminacy 116 Concluding remarks: Latour - - Švankmajer 124 Jiří Barta and the rhythmic difficulties of living in, or with, time and space 127 Introduction ļ27 Rational time, charismatic time and natural time 129 113
Contents Jiří Barta: An ambivalent animator The loss of Green Wood and the defeat of natural time ix 133 137 Designing uniformity in The Design 148 Repeating uniformity in Disc Jockey 152 Twisted spirals and swollen shards: The sickened 4 rhythms of Hameln 153 Repeating the past in The Club of the Laid-Off 166 A hopeful repetition for the future? 174 Animators reconstructing Prague and Czech identity after the Velvet Revolution 177 Portrait of a city 177 Methodological multiplicity 180 Historicization of the objects of Prague 181 Undermining the ‘magic city’ of tourism in Faust 182 Networks of desire in Conspirators ofPleasure 186 Consumption as a desire older than consumerism 189 The Golem is Prague and Prague is the Golem 193 Just orbiting bodies in abstract space 198 Life among the dead in One Night in One City 200 Desiring rhythms in Tram 204 Surviving Life as an Insect 206 The citizen’s inner life is collective, public and dependent upon myths and stories 211 Twenty-first-century Czech animation 212 Political messages from past to present 218 Communication of political messages 222 A materialist turn 223 A silent language 224 Epilogue A materialist, not idealist ecocriticism 227 227 Notes 232 Bibliography շ52 Filmography 273 Index 281 |
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| spelling | Whybray, Adam Verfasser aut The art of Czech animation a history of political dissent and allegory Adam Whybray London ; New York ; Oxford ; New Delhi ; Sydney Bloomsbury Academic 2020 xii, 290 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Hier auch später erschienene, unveränderte Nachdrucke Includes bibliographical references Geschichte 1920-2018 gnd rswk-swf Film theory & criticism / bicssc Animation (Cinematography) / Czechoslovakia Animated films / Czechoslovakia Animationsfilm (DE-588)4142484-0 gnd rswk-swf Tschechien (DE-588)4303381-7 gnd rswk-swf Tschechoslowakei (DE-588)4078435-6 gnd rswk-swf Böhmische Länder (DE-588)4069573-6 gnd rswk-swf Tschechien (DE-588)4303381-7 g Tschechoslowakei (DE-588)4078435-6 g Böhmische Länder (DE-588)4069573-6 g Animationsfilm (DE-588)4142484-0 s Geschichte 1920-2018 z DE-604 Erscheint auch als Online-Ausgabe, PDF 978-1-3501-0465-5 Erscheint auch als Online-Ausgabe 978-1-3501-0466-2 Erscheint auch als Online-Ausgabe 978-1-350-10464-8 (DE-604)BV046792508 Digitalisierung UB Bamberg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032285540&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Whybray, Adam The art of Czech animation a history of political dissent and allegory Film theory & criticism / bicssc Animation (Cinematography) / Czechoslovakia Animated films / Czechoslovakia Animationsfilm (DE-588)4142484-0 gnd |
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| title | The art of Czech animation a history of political dissent and allegory |
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| title_full | The art of Czech animation a history of political dissent and allegory Adam Whybray |
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