Abstract
This brief survey of the animated and puppet film in East Europe will not do justice to the short film in socialist society. It’s like stepping into a canoe to paddle across the Pacific: there’s no hope of reaching the other side of this boundless sea, of seeing in a lifetime everything that is important or relevant in the field.
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Notes and References
The Oberhausen Festival is especially deserving of attention for its attempt to bridge the film cultures of East and West. The reader is referred to Ronald and Dorothea Holloway, O Is For Oberhausen (Oberhausen: Westdeutsche Kurzfilmtage/Stadt Oberhausen, 1979).
Ronald Holloway, Z Is For Zagreb (London: Tantivy Press, 1972).
Jay Leyda, Kino: a History of the Russian and Soviet Film (London: George Allen & Unwin, 1973) pp. 308, 323.
Jaroslav Bocek, Jiří Trnka (Prague: Artia, 1963) p. 77.
Jaroslav Boček, Modern Czechoslovak Film (Prague: Artia, 1966) pp. 21–2.
Andrzej Kossakowski, ‘Der polnische Animationsfilm’, in Manfred Lichtenstein (ed.) in collaboration with Klaus Lippert, Eckhart Jahnke and Kurt Rohrmoser, Animationsfilm Sozialistischer Länder (Berlin: Staatliches Filmarchiv der DDR, 1978). This valuable source book was published in conjunction with a retrospective of animation films from socialist countries at the 1978 Leipzig Film Festival.
Conflicting information on Starewicz (Starevitch) can be found in Jay Leyda’s Kino, Ralph Stephenson’s The Animated Film (London: Tantivy Press, 1973) and Sergej Assenin’s article ‘Kunst in Quadrat (Wege und Prinzipien des sowjetischen Animationsfilm)’, in Lichtenstein (ed.), Animationsfilm Socialistischer Länder. The puppet filmmaker worked in Vilna, Moscow and Paris.
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© 1983 David W. Paul
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Holloway, R. (1983). The Short Film in Eastern Europe: Art and Politics of Cartoons and Puppets. In: Paul, D.W. (eds) Politics, Art and Commitment in the East European Cinema. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-06734-3_15
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DOI: https://doi.org/10.1007/978-1-349-06734-3_15
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