Eastern European Animation Between Art and Politics, 1945-1990.

东欧动画产生了一些最有影响力的学校，动画师和作品，由独特的想象技术，电影制作系统和接受文化定义。这个项目从一个新Vantage审视了捷克斯洛伐克、波兰和苏联的冷战时期动画电影。本研究聚焦于“独立动画”这一在中央集权的国营电影产业背景下的矛盾现象，揭示了媒介文化角色的矛盾：一方面，动画作为一个充满活力的政治和社会批判平台，另一方面，它被文化政治工具化，以促进国家在东方集团内外的利益。即将出版的专著分析了世界著名和几乎不为人知的动画师的作品：Jií Trnka，Andrei Khrzhanovsky，Katarzyna Latao，Jaroslava Havettova，Jií Barta，Nina Shorina和Piotr Dumaa。该项目特别关注空间作为一种叙事手段，有助于动画研究欠发达方面的理论和历史，以及有关共产主义社会中空间组织和控制的历史问题。这个跨国和跨学科的项目汇集了动画研究，文化研究和东欧政治史的领域。

Eastern European animation yielded some of the most influential schools, animators, and works, defined by distinctive technologies of imagination, systems of film production, and cultures of reception. This project examines Czechoslovak, Polish, and Soviet animated film of the Cold War era from a new vantage point. Focusing on “independent animation,” a paradoxical phenomenon in the context of centralized state-run film industries, this study reveals the contradictions in the medium’s cultural roles: on one hand, animation functioned as a vibrant platform for political and social critique; on the other, it was instrumentalized by cultural politics to advance the states’ interests both within and beyond the Eastern Bloc. The forthcoming monograph analyzes works by animators both world-famous and virtually unknown: Jiří Trnka, Andrei Khrzhanovsky, Katarzyna Latałło, Jaroslava Havettová, Jiří Barta, Nina Shorina, and Piotr Dumała. With a special focus on space as a narrative device, the project contributes to the theory and history of an underdeveloped aspect of animation studies as well as to historical questions about the organization and control of space in a communist society. This transnational and interdisciplinary project brings together the fields of animation studies, cultural studies, and the political history of Eastern Europe.