Dimensions of Animation 2

Předmět není vypsán Nerozvrhuje se

Kód Zakončení Kredity Rozsah Jazyk výuky Semestr
309FIDA2 zápočet 3 2 hodiny výuky týdně (45 minut), 54 až 69 hodin domácí příprava anglicky letní

Garant předmětu

Jméno vyučujícího (jména vyučujících)


This course focuses primarily on historical and basic theoretical aspects of animation, as well as animation trends present in popular culture. Apart from the lecture itself, readings, screenings and follow-up discussions will be taking place as the essential part of this course. Students will be motivated to not just absorb the knowledge passively but to come up with their own interpretations, ideas and potential relevance of historical animation for contemporary animation theory and practice (and vice-versa) and animation in general. Special focus will be on the Czech (Czechoslovak), the East European independent original animation placed within an international context.


Animation of the Western World

Central and Eastern European Animation

Czechoslovak Animation

Soviet Animation

Animation vs Politics and War

Animation vs Humour

Animation vs Spectators

Animation vs Reality (Animated Documentary)

Animation vs Art (Independent, Auteur Animation)

Animation in the Digital Era

Feminist Animation

Animation Outside of the Cinema

Výsledky učení

At the end of this course, students will have a general knowledge of history, basic techniques, recurring themes and trends concerning animation, with particular focus on Czech and East European independent original animation, as well as contemporary animation phenomenons. They will be able to better understand the vast potential of contemporary animation (with its historical predecessors) and to identify animation’s possible current overlaps into many other creative areas, such as popular culture etc.

Předpoklady a další požadavky

This course is suited for both animation practitioners (with personal experience in animation) and those outside animation with a general interest in understanding the particulars and history of animation, as well as its current influence on other artistic and cultural areas.


Paul Wells, Understanding Animation. London: Routledge 2000

● Judith Kriger, Animated Realism: A Behind-the-Scenes Look at the Animated Documentary Genre. Oxford: Focal Press 2012

● Adam Whybray, The Art of Czech Animation. London: Bloomsbury Publishing 2022.

● Suzanne Buchan (ed.), Animated Worlds. London: John Libbey Publishing 2006.

● Giannalberto Bendazzi, Animation: A World History. London: Routledge 2015-2017.

● Jiří Kubíček, A Report on the State of Czech Animation. Homo Felix 5, 2014, issue 1, p. 16–21.

● Ülo Pikkov, On the Topics and Style of Soviet Animated Films. Baltic Screen Media Review 4, 2016, issue 1, p. 16-37.

● Chris Robinson, Unsung Heroes of Animation. London: John Libbey Publishing 2005.

● Ülo Pikkov, Animasophy: Theoretical Writings on Animated Film. Tallinn: Estonian Academy of Arts, 2010.

● Eva Strusková, Dodals. Praha: AMU 2013.

● Tereza Brdečková, Jiří Brdečka: Life - Animation - Magic. Praha: Limonádový Joe s.r.o. 2015.

● Maureen Furniss (ed.), Animation: Art and Industry. London: John Libbey Publishing 2009.

● Laura Pontieri, Soviet Animation and the Thaw of the 1960s: Not Only for Children. Leicester: John Libbey Publishing 2012.

● Olga Bobrowska – Michal Bobrowski (eds.), Obsession, Perversion, Rebellion: Twisted Dreams of Central European Animation. Bielsko – Biala: Galeria Bielska BWA 2016.

● Jan Švankmajer, Eva Švankmajerová, Anima, Animus, Animation: Between film and free expression. Praha: Arbor Vitae, 1998.

● Peter Hames (ed.), Dark Alchemy: The Films of Jan Švankmajer. Trowbridge: Flicks Books 1995.

● Lienors Torre, Persona, Celebrity and The Animated Object. Animation Studies Online Journal, Vol. 12, 2017.

● Jacqueline Ristola, Recreating Reality: Waltz With Bashir, Persepolis, and the Documentary Genre. Animation Studies Online Journal Vol. 11, 2016.

● Emmett Redding, From Zeman to Gilliam: The Evolution of Mystimation. Animation Studies Online Journal, Vol. 17, 2022.

● Jane Shadbolt, Parallel Synchronized Randomness: Stop-motion Animation in Live Action Feature Films. Animation Studies Online Journal, Vol. 8, 2013.

● Pierre Floquet, What Is (Not) So French in Les Triplettes de Belleville. Animation Studies Online Journal, Vol. 1, 2006.

● Suzanne Buchan , David Surman and Paul Ward (eds). Animated „worlds". London: John Libbey Publishing, 2006.

● Meike Uhrig (ed.). Emotions in Animated Film. London: Routledge, 2018.

This is an overview of the recommended reading. Students will be sent particular articles and other pieces of text before every lesson, some of which might not be listed here.

Hodnoticí metody a kritéria

Students have to personally attend the lectures and screenings, engaging in the weekly discussions. As a mid-term assessment, students will prepare a short

presentation about the chosen animation phenomenon. As a final assessment students will send an essay (based on the screened films and assigned readings).


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