Speakers

Mackevision
Juri Stanossek Juri Stanossek started his career as a Visual Effects Artist in 1994. Since then he's supervised more than 40 projects for TV and cinema.
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.
   
MELT
Kuba Matyka Futourist. Immersive Experience Director and Co-Founder @ MELT - multidisciplinary little studio, creating experiences for big brands’ audiences. These are often multi-sensory, combining animation, sound, light and interaction in every scale and form. Pop-culture binger. Constantly optimising the world around him.
   
Deep Blue Production 
Grzegorz Kukuś Head of CG / CEO Deep Blue Production VFX executive and talented 3D artist with vast experience in 3D imaginary getting back to late 90's. He specializes CG Supervision, 3D pipeline design, rendering and character animation. For past 10 years connected with Platige Image. Worked as CG Supervisor on many iconic productions such as "The Witcher" cinematics series or worldwide acknowledged short animations "Ark" and "The Kinematograph". He sucesfully delivered dozens of game cinematics and tv commercials for clients like: Ubisoft, Square Enix or SEGA. He was a part of the team responsible for CG animated feature "Final Fantasy: Kingsglaive". His professional road went from being character modeler, through character animation, technical direction, lighting, cg supervising to the position of Head of CG and finally Head of Cinematics Department at one of the biggest animation studios in Europe. He's currently involved in several Deep Blue projects as Producer and CG Supervisor.
Marcin Panasiuk Art. Director at Deep Blue Production. Marcin is an artist based in Warsaw, Poland. After graduating with a degree in architecture, he worked as a freelance concept artist. Since 2013 he has been involved with Platige Image, where he serves as an illustrator, concept artist and art director. He gained extensive professional experience in the course of a number of projects he has been involved with. His work is greatly influenced by jazz music, video games and architecture.
Instytut Adama Mickiewicza
Grzegorz Skorupski Grzegorz Skorupski, born 1979. Graduate of the Warsaw University at the faculty of public communication and journalism and WWSH at Polish Academy of Science at the faculty of media and public communication. Between 1998 – 2002 studied at Agricultural University in Warsaw at the faculty of animal husbandry. Now working on Ph.D. thesis on film language as a tool in cultural international communication.
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).
Animoon
GRZEGORZ WACŁAWEK Grzegorz Wacławek is a producer and director of animated films, and a creator of the SMODO technology.
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.
 
Ministerstwo Kultury i Dziedzictwa Narodowego
Maciej Dydo Deputy Director of the Department of Intellectual Property and Media in the Polish Ministry of Culture and National Heritage. Lawyer specializing in IP, lecturer at the Warsaw Film School (copyright law for Directing students, modern movie and multimedia markets). Currently responsible for implementing governmental support policies for cultural and creative industries, supervising cultural institutions in the domain of film, as well as carrying out programmes of support for digitisation of cultural heritage and online accessibility of digital resources.
   
MAD Entertainment
Marino Guarnieri
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.
Pigeon Studio
Mateusz Kowalczyk Co-founder and managing director at Pigeon animation studio in Kraków. His responsibilities include conducting the production process, as well as seeking out and implementing new projects. He also assumes the role of exectutive producer for the Studio’s most important undertakings.
Studio Produkcyjne Orka
Michał Konwicki Graphic artist, animated film director, effects supervisor. He has created illustrations, animations, commercials, film effects, architectural visualizations and animated films. For 6 years he has been professionaly associated with Orka Production Studio, where he supervises commercials, film effects and animation.
     
Stowarzyszenie Producentów Polskiej Animacji
Robert Jaszczurowski A director, producer, scriptwriter and co-founder of GS Animation. With his early projects: „Harry and Toto” and „Agronauta”, he gained experience in directing animation, creating layouts, backgrounds, characters' design. From 2009 acts as a creative producer with the most important project, TV series „Mami Fatale” (a delegate producer). A president of a Polish Animation Producers Association (SPPA) and a participant of the most important coproduction markets, festivals and animation related events in Europe (Cartoon Forum, Cartoon Movie, MiPJunior, Cinekid, Annecy). Currently working on "Basia" TV series, "Grand Banda" TV series and "Mice on Strike" feature.
Platige Image
Dominik Wawrzyniak Lead of the layout/previz team at the Animation department. Also: Director and Director of Animation. Associated with Platige Image since the beginning of his career, first as a freelancer supporting the studio in the production of short films and special projects. He became a core team member in 2011, joining as a Layout Artist. Graduate in Animation and Special Effects at the National Film School in Łódź. Scholarship holder at the Animation Institute within the Filmakademie Baden-Württemberg in Germany.
Urszula Łuczak Urszula Łuczak is a producer at Platige Image in Poland for over 8 years now. She started working at VFX Department where she was involved in movies such as "Essential Killing", "Melancholy" and "Uwiklanie". She was a production manager creating stereoscopic scenography for spectacles such as "Polita" for Buffo Theatre and "Pilots" for Roma Theatre. She also produced animation movies for Qatar market: “Hero and the message” and “Heroes and the mission”. Recently first full – feature animation movie co-produced by Platige Image called “Another Day of Life” is being released to the festival circulation where she was involved as production manager.
Studio Miniatur Filmowych
Włodzimierz Matuszewski
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:
Scenariusze:
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:
  • Scriptdoctoring IV seriaMami Fatale (13x10’) 2018
  • Dialogi – 13 odc. Serii Bali (13x10’) 2016
  • Scriptdoctoring film pełnometrażowy SZLEMIEL 2018

  • Ponadto:
  • Reżyseria 7 odc.x10’ serii Bali 2016
  • Reżyseria trailera (ok. 1’20”) filmu SZLEMIEL 2018
  •  

    Propaganda, Ideology, Animation. Twisted Dreams of History

    Propaganda, Ideology, Animation. Twisted Dreams of History

      Editors: 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 stoptrikfestival@gmail.com (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)
      The book analyses the historical and political contexts of animated film as well as its entanglement in propagandist manipulation and ideological dependence. (...) However, I am convinced that the entire publication has another, "subcutaneous" dimension. From a certain perspective this publication may be read as a demand for artistic freedom. Freedom that allows to express views, to argue against them and to create awareness of problems. The book makes one feel that despite propaganda and the ideological corsets, the freedom of art is possible.
    • Professor Robert Sowa (Academy of Fine Arts, Krakow, Poland)
      Contents PART 1: THE EMPIRES Mikhail Gurevich (independent scholar, USA/ Russia), Teasing the Sacred Cows to the End of History: Appropriation of Emblematic Imagery in Late- and Post-Soviet Animation   Michał Bobrowski (Marie Curie-Skłodowska University in Lublin), Ideological Hall of Mirrors. Reflections of Soviet Propaganda in American Propaganda of the 1940s and 1950s Michał Mróz (University of Warsaw), “Propaganda à la fairy tale” in the Third Reich Olga Bobrowska (Jagiellonian University in Krakow), Maoist Remoulding of the Legend of Monkey King, or Analyzing Ideological Implications of Wan Laiming’s “Havoc in Heaven”   PART 2: THE SATELLITES Magdalena Krzosek-Hołody (University of Warsaw), City. Mass. Machine. Urban Dystopia and the Nostalgia for Nature in Polish Animated Film of the Post-War Era Anna Ida Orosz (Budapest Eötvös Lóránd University, ELTE), Collages from the Underground. How documentary methods emerged in Hungarian animation during the 1960s Jiří Neděla (Palacký University, Olomouc), Elements of Propaganda in Jan Švankmajer’s Film “The Death of Stalinism in Bohemia” Bogusław Zmudziński (AGH University of Science and Technology in Krakow), Jan Švankmajer against Ideology and Propaganda   PART 3: THE THIRD ROAD Midhat Ajanović Ajan  (University West in Trollhättan), Little Man at the Turn of the Worlds: A View of the Origin, History and the Ideological Foundation of the Phenomenon of the Zagreb School of Animated Film Milen Alempijević (Cultural Centre of Čačak), Serbian Animation: From Political Joke to Paradigm   PART 4: THE INDIVIDUALS Guo Chunning (Renmin University of China in Beijing), The Echo of Women through Silent Paper Cut-Out Animation: “Scissorhands” Lotte Reiniger’s Reflection through Body Language Vassilis Kroustallis (Ionian University in Corfu), In and out of Europe: Translocality and Cultural Hybridity In “Crulic: The Path to Beyond” (2011) Theodore Ushev (filmmaker, Canada), A-Z manifesto 2017 (Animation as a weapon)   About the editors Olga Bobrowska Born in 1987. She is a PhD candidate in Film Studies at Jagiellonian University, Kraków, specialized in classic Chinese animated film and an author of academic articles on the subjects of Polish and Chinese animation. She is a festival director and co-founder of StopTrik International Film Festival (Maribor, Slovenia; Lodz, Poland), a festival dedicated to stop motion animation. She frequently collaborates with other festivals, among them Animateka (Ljubljana), Etiuda&Anima (Krakow), Krakow Film Festival. Film programmes she curated were presented at various festivals and events in e.g. Poland, Slovenia, Croatia, The Netherlands, Finland and China. Her reviews and critiques were published in film magazines such as “Kino”, “Ekrany”, “Zippy Frames” and “ASIFA Magazine”. In 2016 she co-edited the monograph “Obsession Perversion Rebellion. Twisted Dreams of Central European Animation”.   Michał Bobrowski Lecturer at the Faculty of Humanities at the Marie Curie-Skłodowska University in Lublin. In 2010 he obtained PhD in Film Studies at the Jagiellonian University in Krakow, Poland. In 2012 he published a book “Akira Kurosawa: The Artist of the Borderlands”. In 2016 he co-edited a monograph “Obsession. Perversion. Rebellion. Twisted Dreams of Central European Animation”. He is a Programme Director and a co-founder of StopTrik International Film Festival (Slovenia/Poland), an event dedicated to stop motion animation. He works with various European festivals and cinema institutions as a curator, educator and cultural activist. He wrote numerous academic and popular articles devoted to classic Japanese and American cinema as well as animation.   Bogusław Zmudziński, PhD Bogusław Zmudziński, lecturer at the Faculty of Humanities at the AGH – University of Science and Technology (AGH – Akademia Górniczo-Hutnicza) in Kraków. Author and editor of numerous publications on original film, including a series of monographs on outstanding European filmmakers, among others: Wim Wenders, Werner Herzog, Roman Polański, Ingmar Bergman, Siergiej Paradżanow, Andriej Tarkowski, Michelangelo Antonioni. For many years he has been conducting research on original animated film, in particular on the artistic output of the Czech surrealist, Jan Švankmajer. Founder and – since its creation – Artistic Director of the International Film Festival Etiuda&Anima, dedicated to the works of students of film and art schools from around the world and to original and artistic animation. One of the initiators and co-organizers of International Animated Film Workshop, held in Kraków since 1996. Originator and organizer of the 2010 global poll to choose the top 50 artistic animations created in the halfcentury of the existence of Association Internationale du Film d’Animation (ASIFA). Member of ASIFA and the Polish Filmmakers Association.   About the publishing house http://www.wydawnictwo.agh.edu.pl/en/ The AGH University of Science and Technology Press was established in the early 50s of the XX century. The scope of activities of the Publishers includes publishing of scripts and academic textbooks, scientific periodicals and aperiodic dissertations and monographs. Currently about 60 books and 13 scientific journals with a total circulation of about 20,000 copies are being published every year. AGH journals appear in two formats: traditional (paper) and electronic. The latter is created through OJS system (Open Journal Systems) implemented in 2013 – software allowing to manage the publishing process via a website and enabling common (open) access to previously published articles. A tool improving identification of scientific publications available in the digital environment is also the DOI number (Digital Object Identifier) – since 2012 all AGH journals, as well as various single articles published in those journals, are accompanied by an individual number registered in the CrossRef database. The published items are recognized on the specialist book market for their high substantive and editorial level. Their recipients are mainly scientists, specialists in various fields of industry and students of majors and specializations conducted by the AGH University. AGH Publishers systematically participate in Wroclaw Scientific Book Fair, Scientific Book Fair in Krakow, Academic and Scientific Book Fair ACADEMIA in Warsaw, Poznan not only Scientific Book Days, as well as exhibitions (London Exhibition of Polish Scientific Books in 2010, Paris Exhibition of Polish Scientific Books in 2011, Munich Exhibition of Polish Scientific Books in 2012). Many of our publications had been awarded or distinguished during competitions accompanying those fairs.

    Propaganda in animation – additional partners

    Additional partners of the "Propaganda in animation" Conference:

     

    Propaganda in animation – Project Partners

    Project Partners of the "Propaganda in animation" Conference:

    Propaganda in animation

    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. Gloria Victoria

    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
      Project financed by:
    • International Visegrad Fund
      Conference Academic Committee
    • 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)
    Conference Organizational Committee
    • Olga Bobrowska,
    • Michał Bobrowski PhD,
    • Bogusław Zmudziński PhD
      The academic conference will be accompanying by screenings of propaganda animated film during Etiuda&Anima festival – “Frame by Frame Agitation”. Frame by Frame Agitation, part 1: Propaganda Aesthetics in Poland, Czechoslovakia and Hungary 23rd November (Thursday), 03.45 pm. Malopolska Garden of Arts – Small Screening Room Frame by Frame Agitation Part 2: War and Economics 24th November (Friday), 03.00 pm. Malopolska Garden of Arts – Small Screening Room