Date and time: 24/11/2019, MOS (sala mala/the small hall) The organizers of the 26th Etiuda&Anima International Film Festival would like to invite people of interest to a Conference led by European film and performing arts schools’s rectors, titled “The Promotion and Distribution of Student Etudes and Films with Diplomas Outside of the Film School System and Environment.” It will take place on the 24th November (Sunday) at 11:00 AM in MOS (sala mała/the small hall) on 12 Rajska Street. The conference is one of the Etiuda&Anima accompanying events. The speakers, who will take the floor during the conference, represent a range European centres. Our guests include: Martin Hagemann - GERMANY [Professor of Film and Television Production at the Film University Babelsberg KONRAD WOLF, where he is currently Vice President for International Affairs] László Upor - HUNGARY [Vice Rector at University of Theatre and Film Arts, Budapest, since March 2019 he has served as Acting Rector] Barbara Harumová Hessová - SLOVAKIA [teaches at the Department of Production and Distribution and is Vice-Dean for International Relations at the Film and Television Faculty of The Academy of Performing Arts in Bratislava] Marcin Malatyński – POLAND [Rector’s plenipotentiary for international cooperation - The Leon Schiller National Higher School of Film, Television and Theatre in Łódź] KRZYSZTOF BRZEZOWSKI – POLAND [Rector’s plenipotentiary for the promotion of Leon Schiller National Higher School of Film, Television and Theatre in Łódź] The speeches made by the representatives of the invited film and performing art schools with fluctuate between the following topics: -producers’ models used in chosen schools: the sources of finance covering the realization of etudes and certified films and the issue of cooperation. - potential forms of distribution of certified film: what could it look like? - The issue of the organized cells, responsible for the promotion of student work, for example at film festivals, other events and in the media. - The role of students as the authors of films in the promotion process: to what degree can students come out with their independent initiatives in this area? - The wide “marketization” of student work and the process of it turning into an object of cinema and media distribution: a threat to the freedom of art in the open and creative film education field or a new opportunity? -models of the distribution of etudes and certified films: which were the most adequate for the conditions in different countries and in the international market? - European Union programmes providing support for the development of the film culture: what role should such programmes play in this field? - Could one of the solution to the indicated problems be the organization of student etudes, certified films and film and performing art schools’ marketplaces in the Middle-East? The speeches at the conference will be presented in English with simultaneous translation into Polish available. We are directing this invitation to academic lecturers as well as students of coursed related to the organization of film and television production and those studying Film Making, Cinematography, Film Studies, etc.
Conference: "Animation, feature, documentary – on the synergy of connections”The lectures will take place in the Showroom at the Krakow Technology Park, ul. Podole 60 30-394 Kraków
|10:00 a.m.||Beginning of the conference|
|10:10 a.m.||Lecture 1||“Dangerous” connections between the VFX industry and animated film, PL||Włodzimierz Matuszewski||Studio Miniatur Filmowych (Film miniatures studio), Polish Filmmakers Association|
|10:50 a.m.||Lecture 2||The role of the film language in the execution of international projects, PL||Grzegorz Skorupski||Adam Mickiewicz Institute|
|11:35 a.m.||Lecture 3||Is there a place in Poland for a 2D animation studio?, PL||Mateusz Kowalczyk||Pigeon Studio|
|12:20 p.m.||Coffee break|
|1:00 p.m.||Lecture 4||Polish animation abroad - the international accomplishments of Polish artists, PL||Robert Jaszczurowski||Polish Animation Producers Association|
|1:45 p.m.||Lecture 5||“Hug Me” - an adaptation with high international potential. A case study of the first animated series produced in cooperation with China, PL||Grzegorz Wacławek||Animoon|
|2:30 p.m.||Panel discussion - "Animation and vfx - what is the future for us"|
|3:30 p.m.||Ending of day 1 of the Conference|
|10:00 a.m.||Beginning of the conference|
|10:05 a.m.||Lecture 1||Financial programmes and incentives of the Ministry of Culture and National Heritage, PL||Maciej Dydo||Department of Intellectual Property and Media of the Ministry of Culture and National Heritage.|
|10:35 a.m.||Lecture 2||Yugen in Orka: combining techniques and creating new worlds, PL||Michał Konwicki||Orka Studio|
|11:20 p.m.||Lecture 3||"The future of worlds, not screens. "The Missed Spaceflight" Case study, PL||Jakub Matyka||Melt|
|12:00 a.m.||Lecture 4||“Changes in Polish computer animation industry over the last 5 years”, PL||Grzegorz Kukuś, Marcin Panasiuk||Deep Blue|
|12:50 p.m.||coffee break|
|1:30 p.m.||Lecture 5||“Another day of life”, PL||Urszula Łuczak, Dominik Wawrzyniak||Platige Image|
|2:15 p.m.||Lecture 6||The VFX of Jim Button and Luke the Engine Driver, EN||Juri Stannosek||Mackevision|
|3 p.m.||Lecture 7||Post-Production in 2D Animation, EN||Marino Guarnieri||Mad Entertainment|
|3:40 p.m.||Conclusion and ending of the Conference|
|3:50 p.m.||Behind-the-scenes panel discussion|
He acted as a Visual Effects Supervisor at Elektrofilm from 2004 to 2008 and then moved forward to Pixomondo Stuttgart, where he supervised international productions like "Ghostwriter" (2010), "Hugo Cabret" (2011) , "Game of Thrones" (2012) and "Rush" (2013).
He started at his current employer, Mackevision, in 2013 as VXF Supervisor. Thanks to his in-depth expertise he has overseen the visual effects in productions like "The Cut" (2015) and "Independence Day: Resurgence" (2016).
Most recently Juri was a VFX supervisor for the movie "Jim Button" (2018) and the new Netflix series "Lost in Space" (2018).
His outstanding work for "Game of Thrones" won him an Emmy VES Award in 2013. Last year Juri and his team were nominated for an Emmy VES Award for their work on Lost in Space and he received the title of Professor by the prestigious Film Academy of Ludwigsburg where he's been lecturing courses on animation since 2010.
Between 2009 – 2010 - Head of Communication and Marketing at Polish Cultural Institute in London, i.e. in charge of communication and marketing of KINOTEKA film festival.
Between 2010 – 2012 manager of PR and Marketing at Human-Ark - Warsaw based film studio and author and coordinator of the 2012 Oscar campaign of THE LOST TOWN OF SWITEZ by KamilPolak.
Since 2012 at Adam Mickiewicz Institute where he is a member of Institute’s Experts Team in charge of film.
As a film expert at AMI he is responsible for planning and coordinating the Institute film program as well as planning the long term strategies for film projects. Networking and long term cooperation with the foreign partners and coordination the film co-production (i.e. POSSEST and WROBLEWSKI ACORDING TO WAJDA by Andrzej Wajda and AUTOR SOLARIS and „KOBRO/ STRZEMIŃSKI. FANTASTIC TALE” by BorysLankosz).
He graduated from Animation at the department of Film Special Effects at the Polish National Film School in Łódź (PWSFTviT), and Graphic Design at The Academy of Fine Arts in Warsaw. He debuted with his film “Beyond the old age”, and worked next to two Oscar-award producers, Hugh Welchman and Gareth Unwin. Hugh Welchman had a huge impact on his creative producer path, which inspired him to establish Studio Animoon in 2013. Animoon's portfolio consists of animated series, short and feature films. Grzegorz is a co-founder and a member of the Polish Animation Producers Association (SPPA), where he took the chairman role for two cadences.
DIRECTOR, ANIMATOR, ILLUSTRATOR
After working as a graphic designer, experimenting with all forms of expression and communication for the past 20 years, he has finally discovered his true passion: animation. He creates, designs and participates in the realization of commercials and video clips, TV theme songs and educational products, documentaries, specials and feature films. He supervised the animation for the documentary Gli Occhi più Azzurri, in the educational series Docucartoon, and the episode Giga & Stick for INAF, before embarking on the collaboration with MAD Entertainment. His works include: the music video for Foja’s Donna Maria, the promo for the movie A Skeleton Story and the theme song for the Festival Crossmediale Cartoons on the Bay. Assistant director, 2D supervisor and animation editor for the feature film L’Arte della Felicità. Winner of the 2014 European Film Awards for Best European Animated Film. He teaches Digital Animation at the Italian school of Comix, for which he directed the promotional commercial Chi Sogna Disegna and the short film Mezzanotte di Segni. He is also member of the board of ASIFA Italia (Associazione Internazionale Film di Animazione). Gatta Cenerentola is his first feature film as director.
Pracuje od 1976 roku w Studiu Miniatur Filmowych jako redaktor i scenarzysta.
Pierwszy scenariusz „W samolocie” (na podstawie wiersza Juliana Tuwima) został zrealizowany w 1976 roku w Studiu Miniatur Filmowych. Od tego czasu wykonał ok. 30 scenariuszy filmów animowanych dla dorosłych i dla dzieci. W tym m.in.:
PAX VINCIT (1981) - I nagroda w kat. filmów animowanych na Festiwalu Filmów O Sztuce Zakopane ‘ 82 , wyróżnienie w Oberhausen’ 82.
SEZON OGÓRKOWY seria Dixie, (1983) - „Brązowe Koziołki” dla najlepszego filmu animowanego na FF dla Dzieci i Młodzieży w Poznaniu(1984)
ROZWIĄZANIE(1987)- nagr. dla najlepszego filmu na Festiwalu Filmów Jazzowych - Wrocław’87
ZŁOTA RYBKA (1991) - Grand Prix na FF dla Dzieci i Mł., Poznań’92
W latach 1980-81 przewodniczący Komisji Zakładowej NSZZ Solidarność przy SMF, członek Komisji Krajowej Pracowników Filmu NSZZ Solidarność.
W latach 1989-91 działa jako prywatny producent realizując m.in.godzinny animowany film telewizyjny dla hiszpańskiej firmy IRUSOIN z San Sebastian pt. LOYOLA. Realizuje samodzielnie filmy animowane reklamowe, które w 1990 roku zostały zakwalifikowane na Festiwal w Espinho, gdzie uzyskały wyróżnienie
W 1991 r. w wyniku konkursu obejmuje funkcję dyrektora Studia Miniatur Filmowych, Instytucji Filmowej w Warszawie, w bardzo trudnym momencie transformacji, gdy SMF musi przejść na własny rozrachunek bez państwowych dotacji.
Produkuje seriale rysunkowe i filmy pojedyncze w koprodukcji i na zlecenie kontrahentów krajowych i zagranicznych, w tym seria „Dwa Koty i Pies” - Grand Prix w Poznaniu’92 r., ABC...ITD dla TVP S.A (1990-93)., bierze udział w międzynarodowej produkcji „Billy the Cat”, na zlecenie LesFilms de Triangle (Francja 1995-96), „Troubles” dla Ink Tank/WTA/Cartoon Network,(1997-98) a także wiele innych produkcji w tym „AIDA DEGLI ALBERI” dla LANTERNA MAGICA (Turyn- 2001).
W roku 2001 ukończył m.in. pełnometrażowy film aktorsko-animowany dla dzieci pt. TRYUMF PANA KLEKSA (reż.Krzysztof Gradowski) – koprodukcja. z HBO , oraz 40-minutowy film WYSPA R.O. w reż. Jana Lenicy (koprod. z TVP S.A.).
Producent filmów m.in. reż. Andrzeja Barańskiego „WARZYWNIAK 360’”(2007), koprod. z TVP S.A. oraz „OAZA” (2009), „MANO” (pełny metraż) – reż. Leszek Komorowski (2005), „ŚLUB KRAWCA (2001)w koprodukcji z TVP S.A. i „BŁĘDNE KOŁO”(2005) – reż. Elżbieta Wąsik, „KRÓL I KRÓLIK” reż. Norbert Rasiński (2008), w koprod. z TVP S.A.(także pomysłodawca i współscenarzysta) producent serii 13x 13’ dla TVP S.A.„PODROŻE NA BURZOWEJ CHMURZE” reż. Agnieszka Sadurska (2007-2009) oraz serii 26x 13’„HIP – HIP I HURRA” (2009-13) koprodukcja polsko-francuska, seria sprzedana do ok. 110 krajów (w Polsce emisja w TVP serii „MAMI FATALE”26x10’ (2011-14), koprodukcja z GS Animation z Gdańska. Serial trzykrotnie nagrodzony przez Jury Dziecięce na Tarnowskiej Nagrodzie Filmowej (w latach 2012-14)
Producent nagradzanych na festiwalach krótkometrażowych filmów animowanych: LUCKY DAY FOREVER – reż. Alek Wasilewski (2011) oraz ŁAŹNIA – reż. Tomek Ducki (2013)
Od 1.04.2010 SMF zostaje przekształcone w Spółkę Skarbu Państwa, od tego czasu pełni funkcję Prezesa Zarządu.
Współorganizator – ze strony polskiej CARTOON FORUM, rok 2011 Sopot.
W latach 2014-2015 uczestniczy jako producent, z ramienia Studia Miniatur Filmowych w polsko-rumuńsko-francuskiej koprodukcji, animowany film pełnometrażowy CZARODZIEJSKA GÓRA – reż. Anca Damian, nagrodzony (wyróżnienie) m.in. na Festiwalu w KarlovychVarach w 2015 r.
W latach 2014 - 17 producent serii i filmów pojedynczych:
NIE MARTW SIĘ TAMARO – 25 min. TV Special, reż. Elżbieta Wąsik ,koprod. Polsko-francuska
BALI – 13x10 min. (też współreżyseria z Szymonem Adamskim) – koprod. Polsko-francuska
THE WEBSTERS – 13x 11 min. Koprod. polsko- czesko- słowacka.
MAMI FATALE – III sezon – 13x10 min. Koprod. z GS Animation
BASIA – 13x10 min. Koprod. z GS Animation
AGATKA – 13x 10 min. koprod. z Serafiński Studio
Dorobek z ostatnich pięciu lat:
Seria Hip Hip i Hurra (odc. 11 min,):
„Kto porwał bociany” (2013
„Śmiech to zdrowie” (współaut.) (2018)
Seria Mami Fatale (IV seria, odc. 10 min,):
„Mademoiselle Tip-Top” (współaut.) - 2018
„Kasztany” (współaut.) 2018
Inne prace literackie:
Propaganda, Ideology, Animation. Twisted Dreams of HistoryEditors: Olga Bobrowska, Michał Bobrowski, Bogusław Zmudziński Publisher: AGH University of Science and Technology Press Published in cooperation with: Fundacja Promocji Kultury Artystycznej, Filmowej i Audiowizualnej Etiuda&Anima The publication is a part of the project “Twisted Dreams of History. V4 Perspective on Propaganda, Ideology and Animation”, supported by the International Visegrad Fund – Project #21720353 Language of publication: English Number of pages: 256 ISBN 978-83-66016-81-1 Krakow 2019 Free access to the publication! The publication is released in a free open access mode on-line and can be found at www.etiudaandanima.pl/propaganda-w-animacji The publication in print is delivered for free to various European and worldwide cultural and educational institutions as well as delivered to the interested Readers upon request sent at firstname.lastname@example.org (cost shipping on the behalf of the Reader). Additionally, it is possible to obtain a printed copy at the book presentations held on various animated film festivals and cultural events. Follow the route of the book presentations on www.etiudaandanima.pl, www.stoptrik.com and our social media! Key words: Soviet and post-Soviet animation; Nazi Germany animated propaganda; Cold War era American live-action and animation; Maoist animation; Polish avant-garde and Polish School of Animation; documentary approach in Hungarian animation; Jan Švankmajer; Zagreb School of Animation; Serbian animation from 1940s to 2000s; Gender-oriented language of resistance in animation; European integration and co-productions; Animation as a weapon. About the publication The monograph regards the history and contemporaneity of animated film through a prism of the ideological entanglement of this medium. The editors have invited film scholars and critics to reflect upon the dangerous liaisons between animation art and official propaganda. Propaganda that uses the intrinsically symbolic and synthetic language of animated film, may be utilized as a perfect "laboratory", allowing us to study the essence of manipulation, of rhetorical modes and of strategies of persuasion. The subject of art in service of ideology and propaganda requires a concentration on the egalitarian mainstream forms of animated film, such as children’s films and feature-length commercial production. Nonetheless, some of the texts refer to art-house animated shorts that combine personal commentaries on political issues with the reinterpretation and reconceptualization of propagandistic themes and styles. The authors study animated production against the background of historical and political contexts that include: Soviet and post-Soviet Russia, USA and Eastern European satellite countries during Cold War, Weimar Republic and Nazi Germany, People's Republic of China under Mao Zedong, Marshal Tito's Yugoslavia and its dramatic breakup, contemporary condition of European integration. The contributors represent cultural diversity and differentiated research approaches as they come from various academic and cultural environments (Poland, Czech Republic, Hungary, Serbia, China, Greece/Estonia, Russia/USA, Bulgaria/Canada, Bosnia and Herzegovina/Sweden). Next to the papers written by the scholars of highly acknowledged status in worldwide Animation Studies (e.g. Mikhail Gurevich, Midhat Ajanović Ajan), we publish articles of the young generation of academics and film culture activists (e.g. Anna Ida Orosz, Jiří Neděla), as well as a manifesto of the 2017 Oscar-nominated animated film artist Theodore Ushev. The volume “Propaganda, Ideology, Animation” is a second part in the series “Twisted Dreams”. The first one, “Obsession, Perversion, Rebellion. Twisted Dreams of Central European Animation” (2016), was focused on the dissident and counter-cultural features of animated film that undermine social and political taboos. We drew upon Theodor Adorno's famous claim that mass culture may be described as 'psychoanalysis in reverse' for its ultimate goal is to anesthetize the anguish of critical reflection and to immerse the masses in the void of collective vacuity. In the current volume we attempt to switch the perspective. The contributors were asked to proceed with critical investigations into the political factors determining production processes as well as the form and content of animation. Moreover, they were encouraged to study ideologies and political doctrines of the previous and current century's global regimes reflected in the mirror of animated productions. If mass culture is psychoanalysis in reverse, then propaganda can be called 'behaviourism at full speed’, for it undertakes the task of controlling the behaviours of societies and nations. Regardless of their ideological backbones, the propaganda messages produced by 20th and 21st century political systems are based upon rather similar theoretical and methodological assumptions. From its very beginnings, animation has been used as a convenient channel to transmit ideology. Complex artistic works, educational children’s films, simple commercials – all of them have been incorporated into propaganda apparatuses upholding various political systems. The engineers of social order developed its effectiveness and transformed it into a powerful weapon of agitation and manipulation. After a period of stagnation in the 1990s and 2000s, in the following decade, animated propaganda seems to have entered a Renaissance phase. The echoes of 20th century propaganda reverberate in phantasmagoric discourses of populist prophets who unite their followers around great dualisms spread from inclusive values of pride and devotion to exclusive feelings of fear and hatred. Contemporary readers may benefit greatly from discovering and deconstructing the propaganda messages, especially since the logic of the Cold War, based on absolute ideological polarization, has made its reappearance in the ideological war between European nationalisms and Islamic fundamentalisms, and in the escalating trade wars between the USA and China. Excerpts from the academic reviews The texts collected in the revived volume are undoubtedly a valuable contribution to animation studies that enriches both Polish and world subject literature with many new thoughts and findings. Among the authors there are such outstanding and acknowledged experts in the field of animation studies as Mikhail Gurevich or Midhat Ajanović Ajan. The volume's biggest advantage is that it may serve both film scholars and regular animation aficionados who may learn about such distinguished artists as Lotte Reiniger or Jan Švankmajer. It should also be noted that the volume's erudite introduction in many cases supplements the content of particular texts with a deeper reflection.
- Professor Marcin Giżycki (Rhode Island School of Design, Providence, USA and Polish-Japanese Academy of Information Technology, Warsaw, Poland)
- Professor Robert Sowa (Academy of Fine Arts, Krakow, Poland)
Additional partners of the "Propaganda in animation" Conference:
- Academy of Fine Arts in Krakow, Poland - https://grafika.asp.krakow.pl/pracownie/pracownia-filmu-animowanego/
- Confucius Institute of the Jagiellonian University in Krakow, Poland/China - http://www.instytutkonfucjusza.uj.edu.pl/
- Krzysztof Dydo’s Cracow Poster Gallery, Poland - https://cracowpostergallery.com/pl/
- Budapest Poster Gallery, Hungary - https://budapestposter.com
- StopTrik International Film Festival Slovenian/Polish festival of stop motion animation - http://www.stoptrik.com, http://www.facebook.com/StopTrikFestival
Project Partners of the "Propaganda in animation" Conference:
- Bielska Gallery BWA, Bielsko-Biała, Poland - http://galeriabielska.pl/
- PAF Festival of Film Animation, Olomouc, Czech Republic - https://www.pifpaf.cz/en/
- Primanima World Festival of First Animations, Budaors, Hungary - https://primanima.eu/
- Fest Anča, Žilina, Slovakia - http://www.festanca.sk/2019/
- StopTrik International Film Festival, Maribor/Lodz, Slovenia/Poland - https://www.stoptrik.com/
We invite you to an international academic conference on animated film – “Twisted Dreams of History. V4 Perspective on Propaganda, Ideology and Animation” and for screenings of propaganda films „Frame by Frame Agitation” during 24th IFF Etiuda&Anima.
Still from animation "Gloria Victoria"2nd international academic conference from the cycle titled “Twisted Dreams of History” devoted to the title relation between ideology, propaganda and animation. Apart from scientists from V4 region, the event will also host researchers from other countries. The conference’s special guest will be Theodore Ushev, a Bulgarian author of animation working in Canada. From its very beginnings animation was used as a convenient channel of ideological transmission. Complex artistic works, educational children films, simple commercials - all of them have been easily incorporated into propaganda apparatuses upholding various political systems. In the first decades of film history pioneers such as Winsor McCay, Quirino Cristiani, Zenon Komissarenko or Wan Brothers demonstrated the engaging and persuasive potential of animated attraction. This potential was recognized by the authorities seeking easily understandable and highly entertaining form of communication with the masses. During the World War II both the Allies and the Axis countries mobilized popular cartoon characters to serve on the front-lines of the propaganda war. From the perspective of the film historian concerned aboutinterweaving of art and ideology, the Cold War era is arguably the most interesting period. Comparative analysis of the animated propaganda from both sides of the Iron Curtain may expose modes of manipulation in their purest form. Krakow, Poland 23rd – 24th November 2017, 09.00 am. - 03.00 pm. Faculty of Humanities, AGH University of Science and Technology in Krakow 30-001 Kraków, Gramatyka 8a street Building D-13, room 21, first floor The Organizers:
- Foundation for Promotion of Artistic, Film and Audiovisual Culture “Etiuda and Anima”
- Faculty of Humanities, AGH University of Science and Technology in Krakow
- International Visegrad Fund
- Professor Stefan Bielański (Pedagogical University of Cracow),
- Professor Barbara Gąciarz (AGH University of Science and Technology in Krakow),
- Professor Alicja Helman (Jagiellonian University, University of Humanities and Economics in Lodz),
- Professor Jadwiga Hučkova (Jagiellonian University),
- Professor Andrzej Pitrus (Jagiellonian University),
- Professor Anna Siwik (AGH University of Science and Technology in Krakow)
- Olga Bobrowska,
- Michał Bobrowski PhD,
- Bogusław Zmudziński PhD