We invite you to meet a unique tandem who has been cooperating for years to create excellent, humorous animations. A guide on how to win the Emmy, Oscar and several hundred other awards around the world.
WHEN / WHERE:
1st December 2022, 4:00 PM Academy of Fine Arts in Kraków, Animated Film Studio ul. Karmelicka 16
Joanna discovered animation at Middlesex University London while studying for a BA degree in Graphic Design. Her graduation film Girls Night Out, a brilliantly simple and humorous riposte to machismo and a celebration of uninhibited female sexuality, which introduced audiences to the character of Beryl and kick started Joanna’s animation career by winning 3 major awards at Annecy Animation Festival in 1987.
The uniquely memorable character of Beryl became the focus for three more films Body Beautiful, Dreams and Desires - Family Ties and most recently Affairs ofthe Art. The politics of gender and oppression together with Joanna’s obsessive fascination and delight with exploring the eccentricities of the human body, in particular the female form, became the central themes of her work. Her masterpiece is Britannia a savage indict ent of British imperialism. Joanna’s films have won many international awards, including Baftas, Emmys and 3 Oscar nominations.
Born in Cardiff, Wales, Les initially studied Fine Art at Cardiff University, Goldsmiths College University of London and finally at Rutgers University in the US, where he completed a Masters Degree in Fine Art and Art History. He lived and worked as an artist in New York City before moving back to the UK to take up lecturing post in London.
Les’ teaching experience is extensive, initially having taught Art & Design but gradually becoming more interested in Filmmaking and Animation while teaching at colleges in London. It was here that he met Joanna, ironically while teaching her drawing. Les first taught animation at Middlesex University, London in the late 1980’s. He taught at Cardiff University, the University of Glamorgan and co-ordinated the Film Workshop at Chapter Arts Centre in Cardiff, where he became heavily involved with Independent Film Production. His teaching experience climaxed when he became Course Director in Film and Animation Production at the Film School of the University of Wales, Newport. In 1997 he left full time teaching to concentrate on directing Beryl Productions International, his company formed with Joanna in 1987.
Acting in the culture sector in times of climatic catastrophe, we have to bear it in mind how culture can influence the way the audience perceive climate change. Environmental education is one of the most important tasks not only for culture organizers, but also for everyone of us living in Anthropocene. The culture sector cannot be indifferent to the reality in which it is functioning. Culture and its creations touch every aspect of our activity – including a man`s responsibility for climate change. Culture and art make us more sensitive and move us by showing new perspectives, and a shift of perspective is what must happen to make actions fighting climate change effective.
through art and increasing awareness through art – this is the part of responsibility
we feel while making this festival. We try to encourage our audience to reflect
by including in the programme of this year`s edition points related to
responsibility for natural environment.
GREEN FILMING IN PRACTICE. FILM INDUSTRY AND ENVIRONMENT PROTECTION
WHEN / WHERE:
2nd December 2022 – 3 PM Małopolska Garden of Arts – Small Screening Room
panel discussion will continue the activities started during last year`s
edition, when together with other representatives of the festival industry we
pondered on how to organize a festival more sustainably. This year we would
like to consider a topic equally dear to us – the influence of film industry on
the condition of our planet. Cinema has got great power. We love cinema and
know that it can delight, astonish, shock. We sincerely believe that film can
also rise awareness or even “convert”… maybe to the greener side of the force.
the same time, we are aware of the negative influence of the industry we work
in on the environment. With experts and the audience, we would like to think
about what we can do to make film industry more sustainable.
industry, like any other, is facing the challenge of production that would be more
responsible, thought through and friendlier towards the environment. This is an
important change that must happen on many levels. One cannot make films on a
dead planet. One cannot go to the cinema on a dead planet. And there are no film
festivals on a dead planet. Education, broadening horizons, real, practical
change – this is what we need as industry and as its individual actors. During the
panel discussion we are planning to discuss existing solutions and possibilities,
to stress how the awareness of filmmakers is changing, to indicate the most
problematic areas, and to share our thoughts and experiences.
Jagoda Mazepa Kierowniczka produkcji filmów krótkometrażowych. Absolwentka produkcji filmowej w Państwowej Wyższej Szkole Filmowej, Telewizyjnej i Teatralnej im. L. Schillera w Łodzi.
Koordynuje projekty filmowe i kulturalne. Od 2019 roku pracuje w zespole Podkarpackiej Komisji Filmowej, odpowiedzialna za obsługę Podkarpackiego Regionalnego Funduszu Filmowego. Członkini inicjatywy Film dla Klimatu. Współautorka "Zielonego przewodnika dla branży audiowizualnej" - pierwszej tego typu publikacji w Polsce.
Malwina Górecka Specjalistka do spraw promocji i komunikacji, a także kierowniczka produkcji i debiutująca producentka.
Wraz z reżyserem Robertem Kwilmanem otrzymali nagrodę za zielona produkcje na Festiwalu Polskich Filmów Fabularnych w Gdyni w kategorii krótki metraż za film Alkibiades (film otrzymał również wyróżnienie na tym festiwalu). Zawodowo zajmuje się również promocją nauki i angażuje w kampanie społeczne i edukacyjne, obecnie produkuje dwa filmy dokumentalne.
Paulina Zacharek Twórczyni i dyrektorka międzynarodowego programu profesjonalizacyjnego dla środowiska animacji stop motion – StopMoLab, w ramach którego powstaje zielony przewodnik dla animacji poklatkowej.
Założycielka i współwłaścicielka firmy MOMAKIN. Członkini Zarządu Krajowej Izby Producentów Audiowizualnych (KIPA). Historyczka Sztuki. Specjalistka ds. dystrybucji kinowej animacji oraz edukacji profesjonalnej i powszechnej w zakresie filmu. Współorganizatorka Animarkt Stop Motion Forum, a także współprogramerka sekcji Masters i Business na tymże wydarzeniu (od 2016 roku). Inicjatorka programu edukacyjno-dystrybucyjnego #bajkizpolski. Swoją przygodę z animacją zaczęła od współpracy ze studiem i fundacją Se-ma-for, gdzie prowadziła Semafor Muzeum Animacji, a także realizowała i koordynowała liczne projekty i wydarzenia kulturalne, m.in.: „Semafor film festiwal On tour”, „Junior Semafor Film Festival”, Semafor European/Asian Express (część edukacyjna).
NATURE – HUMAN – CULTURE. THEMATIC SCREENING
WHEN / WHERE:
2nd December 2022 – 1 PM Małopolska Garden of Arts – Small Screening Room
Is nature a resource we can use without limits or maybe we constitute its integral part but forgot how to live in harmony with other organisms? What can the world look like after climate catastrophe? What makes us similar to whales? Is it still worth changing our habits and systems of values? How to choose the tree species we will turn into after death?
and animations tell stories, throw us into new narrations, and sometimes into
new universes. Each year the festival programme is rich with exceptional films
and perceptions of reality. This year, from the works sent in, we also selected
the ones which pay attention in a special way to what is happening where
culture and nature – spaces in which we function – meet.
of the selected films depicts a different aspect of a man`s contact with
nature, perception of the natural world. Each of them also provides us with a
different perspective on how we function in the environment, how we change it
or how we adjust to it, what we miss and what we have lost, how we defend what is
dear to us.
selected films make up a unique collection – some of them may be watched also
as part of competition programmes, some, however, have been selected for the
purpose of the screening and will not be presented anywhere else.
Transfer of parts of Mariusz Wilczyński`s exhibition “Kill It…” shown in Zachęta – National Gallery of Art to 1:12 scale.
Vernissage and meeting with Mariusz Wilczyński and project curators - 1.12.2022 at 20.00
Venue: Mikrob Gallery. In a beautiful old display window of Baza Club in 15 Floriańska Street in Krakow (Open: 24/7).
Curators: Marta Miś, Agata Kus
Mariusz Wilczyński exhibition in Zachęta focuses on a single film – the feature debut of this famous animator entitled Zabij to i wyjedź z tego miasta / Kill It and Leave This Town. It had its world premiere at the International Film Festival in Berlin at the beginning of 2020; however, due to the Coronavirus pandemic, the film had to wait almost a year to be allowed in cinemas. In this time, it was presented and awarded, among others, at top animation festivals in the world – in Annecy and Ottava.
Making this animation, initially planned as a short film, took 14 years. In the end a feature film was made, which is the artist`s journey through a memory land, with people and places close to him. Background for this surreal story is Lodz, the animator`s hometown, and its protagonists are real characters, invented or ones borrowed from literature. One of the most important ones is Tadeusz Nalepa – Wilczyński`s late friend and author of the soundtrack. Zabij to i wyjedź z tego miasta / Kill It and Leave This Town combines the atmosphere of a dream with realism and black humour, high culture with pop culture, personal memories with depiction of reality. The author fits traditional animation into feature film format, yet he remains within the scope of artistic film, and makes this truly Polish film universal and understandable also for the foreign viewer.
A few thousand drawings in various scales, lurking and eavesdropping the reality and language from the times of the Polish People`s Republic (the author manifests here his talent for dialogues), “sounding” the characters over the years (the cast included, among others, Andrzej Wajda, Irena Kwiatkowska, Barbara Krafftówna, Krystyna Janda, Tadeusz Nalepa, Tomasz Stańko, Gustaw Holoubek, Andrzej Chyra czy Maja Ostaszewska) as well as music by Nalepa and Breakout – all these are only a few constituent parts of this story about passing. The exhibition Kill It… in Zachęta is, first of all, constructed around contexts forming the film setting and the work itself. On the one hand, it is defined by the imagery (multi-layered town set designs, light that is different from the light used in the director`s earlier films), presented at the exhibition through original drawings and animated set design. On the other hand, Wilczyński`s total idea about sound being a vital building block of film space. The third important element of the exhibition are the scenes that were not included in the final version of the film – scored and edited in the animatika stage, showing the planned animation of the characters in simplified form, which also enables viewers to familiarize themselves with the technique of the contemporary animator.
PROJECT CURATOR – AGATA KUS
Visual artist. Lives and works in Krakow. Graduate, PhD and assistant professor at the Department of Painting at the Academy of Fine Arts in Krakow. Mainly focuses on painting, drawing, ceramics and video. Winner of numerous awards and scholarships, including the first prize at the International WRO Media Art Biennale 2015 in Wroclaw. In 2017 nominated for the “Spojrzenia” Award by Deutsche Bank and Zachęta. In 2011 and 2018 nominated for the scholarship by the Swiss Vordemberge-Gildeward Foundation. In 2021 won the first prize in the Young Art Compass rating published by Rzeczpospolita. Collaborated with numerous institutions and galleries in Poland, Austria and Paris. Her paintings can be seen, among others, in MOCAK Museum of Contemporary Art in Krakow, National Museum in Gdansk, Bunkier Sztuki Gallery, mBank Collection as well as in numerous private collections in Poland and abroad.
Exhibition: interlaced/przeplatane. Experiments with stereoscopic animation and extended reality.
WHEN / WHERE:
EXHIBITION 30th November – 3rd December 2022(from 2 PM to 8 PM) Małopolska Garden of Arts - Conference Room
EXHIBITIONOPENING: 30th November 2022 - 7:30 PM Małopolska Garden of Arts - Conference Room Meeting with Wiola Sowa, Przemysław Liput and Jacek Złoczowski
The title of the exhibition is a cluster of two words, which are not
literal translation, but their meanings supplement each other, directing
towards the right interpretation. Interlaced means two frames making up a video
image which doubled the frame rate of a video display and thus improved the display
flow. Using stereoscopic image, we also double the image, however, of different
kind. We could rather say that they are more of interlacing images. The techniques
we use also interlace. Each of these works is a result of a process, in which various
media were used. Sometimes the starting point was the manual process, sometimes
photography, and sometimes Virtual Reality. In the creative process, manual
became digital, photography turned into movement, and virtual reality moved to
a different area. That is why the word game in the title conveys so well not
only the character of the exhibition but first of all the creative process and
attitudes of the artists taking part.
The interlaced/przeplatane exhibition is an exceptional event! Animation is means of expression, but it would be difficult to find a more varied approach to how it is used in the experiments carried out by the artists and what it turns into as a work of art. At the exhibition we can see the works of Przemysław Liputa, Memorymorph Collective (Jacek Złoczowski and Małgorzata Łuczyna) and Wiola Sowa, which summarize the experiments on stereoscopic image processing. Conclusions were collected in form of a publication interlaced/przeplatante, published in 2021 and available as e-pub. Some of the works presented at the exhibition are directly linked to the conducted research. Other further explore the selected topics. They penetrate them in a new way and with the use of new tools.
Pre-cinematic machines like a stereoscope, periscope and mutoscope lie within Przemysław Liputa`s scope of interests and fascinations. It is not, however, exclusively an imitative approach. On the contrary, relying on the originals, some of the machines were modernized to allow the screening of digital images. The animation loops displayed by him refer thematically to his other fascination – astronautics, treated with distance and humour.
The artistic focus of the Memorymorph Collective is directed towards visual art related to artificial intelligence, perception, processed photographic image. Their experience of Virtual Reality traffic_lab will be on display at the exhibition. Even though the experiment is set on the Market Square in Krakow, the aim of the work is not moving to an historic place, but rather experiencing it in a way unavailable for human perception.
The last work displayed at the exhibition is my Inside the drawing. The primary scope of my artistic activity is animated film. However, in recent years, I have completed a series of works in augmented reality and virtual reality. I find Augmented Reality especially fascinating because is combines two dimensions: the real and the digital. The work displayed at the exhibition was made in Virtual Reality and got transferred to Augmented Reality. It is an experience between drawing and a spatial installation, which we can penetrate in several dimensions.
exhibition curator Wiola Sowa
Stereoscope - 2021, 27x41x63cm, digital stereoscope, film
frame size 4x3, wood, plywood, video frame
Persiscope 3 - 2021, 50x35x27, interlaced film 16x9, digital
periscope, wood, plywood, video frame
Mutoscope - 2017, 408x216x1023cm, frame size 4,5x6cm, pre-cinematic machine with an animated film powered with a crank, wood, plywood, steel
The motive joining the displayed works is the word “loop”, understood as a trap or being trapped in outmoded ways of thinking and acting. After the fall and final discredit of the grand concepts of the 20th century, pop culture refuses to strive to foresee the future and turns to proven solutions. I am fascinated by being anchored in “yesterday” and inability to imagine “tomorrow”.
Common denominator of my work is technological anachronism. In my artistic strategy I try to create animated films and objects that seem old, historical, and at the same time not fitting in their own timelines. A means to achieve this type of impression is using modern technologies woven into the archaic construction, the philosophy behind device operation.
In 2010 he graduated from the Faculty of Art of the Pedagogical University in Krakow specializing in graphics. He defended his Master thesis in the Digital Print workshop run by Professor Adam Panasewicz. In 2017 he obtained his PhD under the supervision of Professor Grzegorz Hańderka at the Academy of Fine Arts in Katowice. Winner of numerous awards and mentions, participant of exhibitions, film reviews in Poland and abroad. Author of book illustrations in Miasto Potwór (published by Kropka), Rok w przedszkolu (published by Nasza Księgarnia), Ziemia do Jadzi and the series Jano and Wito (published by Mamania). Author of animations, children`s books, commercials and advertising campaigns. Since 2011 he has been lecturer in the Art and Design Institute at the Pedagogical University in Krakow. He works with graphic, drawing and video techniques and creates kinetic as well as pre-cinematic objects, screening machines, stereoscopic devices. He is interested in non-camera, experimental, minimalist and pre-cinematic activities. Co-organizer of three all-Poland editions and one international edition of a student competition NOTO – Artist`s Notebook.
traffic_lab is an alternative, virtual journey around one of the most attractive tourist locations – the Old Town Square in Krakow. The work is based on data that is usually not used in space mapping. The technique of recording 360 ° photographic panoramas was used for the implementation. Thanks to the use of the application based on machine learning, used to process spherical panoramas, the congestion and dynamics of movement were registered. The tissue of the city was not made of architectural objects, but rather a record of the changeability of movement and sound. It is an attempt to create a portrait of this place written in a synthetic form of overlapping characters. The image of the city was created from "human matter", which is its indispensable component.
By putting on the VR goggles, the viewer is transferred into a space composed of vanishing points, ephemeral shapes, that do not provide a reference point in space, and are not associated with any solid object. They create a layer of reality of what is fleeting and momentary, seemingly insignificant.
Memorymorph is a Polish art group created in 2017 out of visual artists Małgorzata Łuczyna and Jacek Złoczowski. The collective experiments with various medias and deals with installation, site-specific, virtual, interactive and hybrid art. Artists collaborate with programmers, IT specialists, scientists, designers. Projects were exhibited during shows: TANCEBA, Galeria Bielska BWA (2017), PRÓBA 3, Galeria im. J. Tarasina w Kaliszu (2017), Street Data MIASTOmovie Festival 6 in Wrocław (2018) and 3D Kraków Meetup Patchlab Festival 2018 w Krakowie.
INSIDE THE DRAWING
Is experience between drawing and a space display, which we can penetrate in several dimensions. This work was prepared as augmented reality AR, but made with the use of AnimVR application enabling drawing and animating in virtual space. The title includes an assumed artistic premise – we are in a drawing which influences us in three ways: with space, sound and movement, so in a way that a classical drawing would never be able to. The choice of augmented reality AR for the work was dictated by the uniqueness of this kind of experience. We can see the real world and at the same time with the use of a tablet we experience the hidden, non-existent dimension which will leave real memories in our consciousness.
Animated film director. Creates animations, but also films in which she combines animation with documentary and feature films. For several years now, she has been experimenting with augmented reality and virtual reality. She graduated from the Academy of Fine Arts in Krakow and Lodz Film School. Two-time winner of the Scholarship of the Minister of Culture and National Heritage, the City of Krakow and Goethe Institute. In 2008-2012 she chaired of the Polish section of ASIFA (Association Internationale du Film d’Animation), an international association of animators from all over the world. Assistant professor in the Institute of Art and Design at the Pedagogical University. Her films have been presented and awarded at numerous festivals in Poland and abroad, such as National Gallery of Art Washington D.C., Kościuszko Foundation in New York, Barbican Centre in London, Centre Pompidou in Paris, Ujazdowski Castle Centre for Contemporary Art in Warsaw, during Hiroshima Animation Festival in Japan, Annecy Animation Festival in France.
An exhibition of mockups from Tomasz Wolski`s 1970 shows six political offices, in which the most important talks of the political crisis took place. Thanks to animations combined with recordings of telephone conversations we can take a peek inside closed dignitaries` offices. The characters of politicians are meticulously prepared, their faces, outfits, similar interior design and furniture mirror past times. Animation was directed by Robert Sowa and the puppets were made by Sylwia Nowak.
Michał Bobrowski, Radosław Bomba Poza ekranem kinowym. Postmedialne konteksty animacji UMCS, Lublin 2021 978-83-227-9534-7, 148 pages
monograph authors set for themselves an uneasy, yet without doubt, intriguing
goal – mapping animation against the background of post-media landscape, in which
media function as Geertz`s “clouded genres”. In two parts of this volume, this framework
allows us to take a closer look at various historical lines – videos, especially
animation, which since its onset constituted an entity separate from film, in
the spirit of media archeology possible to be fitted in connections other than
the cinematographic ones, yet, also connected with other “post-cinema” animations,
from GIFs to immersive installations, to data visualizations. In order to
tackle the analysis of such a scope of topics, which additionally combine
various registers, from amateur works, to commercial productions to
avant-garde, Michał Bobrowski and Radosław Bomba make use of a vast palette of
theoretical references. It is indispensable and at the same time of informative
value because this whole area clearly escapes traditional categorizations. […]
the cinema screen it seems to form a catalogue, a theoretical and historical
guidebook through selected media of the epoch, in which the semantic scope of the
term “medium” becomes non-obvious. Even more: it is a return visit into the
past, which reminds us that the stability of older forms was an illusion waiting
to be exposed, like the glitch esthetics referred to in the text. Authors also open
field for further exploration because reading whets appetite and leads to further
questions, for example, about the social circulation of the discussed images
and sounds. Finally – it offers a new “audiovisual agreement” by appreciating sound,
everlastingly marginalized in favour of image.
From the review by Mirosław Filiciak, professor at SWPS
2nd December 2022 – 11 AM Małopolska Garden of Arts - Small Screening Room
Assistant professor in the Institute of Culture Studies at Maria
Curie-Skłodowska University in Lublin (Faculty of Philology) since 2018. PhD specializing
in film theory (he defended his thesis in 2010 at the Jagiellonian University).
His research interests include classical Japanese and American cinema, animation,
Cold War film propaganda (USA, USSR, Yugoslavia). In 2012 he published a book Akira Kurosawa. Artysta Pogranicza. In 2016
a monograph Obsession, Perversion,
Rebellion. Twisted Dreams of Central European Animation was published, which
he co-authored, and in 2019 it was continued by Propaganda, Ideology, Animation. Twisted Dreams of History (which he again co-authored). This book was
nominated for the McLaren-Lambart Award for Best Scholarly Book on
Animation for years 2019-2020 awarded by the Society for Animation Studies. Together
with Radosław Bomba, he co-authored a book Poza
ekranem kinowym. Postmedialne konteksty animacji,
published in 2021. He
is programme director and co-founder of StopTrik International Film Festival (Slovenia/Poland),
a festival devoted to stop motion animation. He cooperates with numerous
European festivals and film institutions as curator and culture activist. He
speaks English, Serbo-Croatian and Russian.
Researcher, academic teacher, digital culture animator. He graduated from Maria Curie-Skłodowska University in Lublin majoring in culture studies and sociology; he also completed postgraduate studies Protection of Intellectual Property (Maria Curie-Skłodowska University in Lublin, 2014) and Computer Graphic Design and DTP (Maria Curie-Skłodowska University in Lublin, 2015). Since 2006, he has worked in the Institute of Culture Studies at Maria Curie-Skłodowska University in Lublin, where having obtained his PhD (2012) he became assistant professor, and since 2021 – professor. He is interested in knowledge visualization, digital humanities, culture analytics, anthropological aspects of computer games, game studies, cyberculture, digital culture, new media and their influence on social and cultural transformations. He has been teaching at Maria Curie-Skłodowska University for 15 years. He has also taught at the SWPS University in Warsaw (2015-2018), John Paul II University in Krakow (2020/21) and WSEI University in Lublin (2019/20). Apart from teaching and researching, he has actively cooperated with numerous scientific and cultural institutions, such as National Centre for Culture, National Audiovisual Institute, National Library, Medialab Katowice, Digital Humanities Centre at the Institute of Literary Research of the Polish Academy of Sciences, Modern Poland Foundation, Gdynia City Museum, The “Grodzka Gate – NN Theatre” Centre, 5medium Foundation, City Culture Institute in Gdansk, Centre for the Meeting of Cultures in Lublin, Lublin Gamedev Foundation, IT Promotion Centre in Warsaw. In 2015 he worked as media education expert for the Ministry of Culture and National Heritage. In 2013-2017 he was director of the Culture Theory postgraduate programme. Since 2018, he is the director of Video Games Research Centre at Maria Curie-Skłodowska University in Lublin. In 2006-2017 he was deputy editor-in-chief of the scientific magazine “Culture and History”. Editor of numerous internet portals (among others History and Media, Knowledge and Education). Member of Polish Culture Studies Association (since 2005), Games Research Association of Poland (since 2007) and Polish Association of Film and Media Research.
Olga Bobrowska Chinese Animated Film and Ideology, 1940s-1970s. Fighting Puppets Publisher: CRC Press (Taylor & Francis Group)
Attendees of the promotional event
are eligible to receive 20% discount for acquiring the book at the publisher’s
examines animated propaganda produced in mainland China from the 1940s to the
1970s. The analyses of four puppet films demonstrate how animation and Maoist
doctrine became tightly but dynamically entangled. The first chapter
contextualizes the production conditions and ideological contents (the
so-called “new democracy” concept) of Chen Bo’er’s The Emperor’s Dream
(1947), the first puppet film made at the Northeast Film Studio in Changchun.
It then examines the artistic, intellectual, and ideological backbone of the Zhang
Chaoqun’s puppet film Wanderings of Sanmao (1958), especially in regard
to the tradition of revolutionary visual and comic arts. The final two chapters
attempt to outline the output of You Lei, a controversial film director strongly
involved in ideologically radical tendencies within Maoism. This discussion
presents the means and methods applied in puppet animation filmmaking that
complied with the ideological principles established by Mao Zedong in the first
half of the 1960s (Rooster Crows at Midnight, 1964) and in the midst of
the Cultural Revolution (The Little 8th Route Army, 1973). These four
puppet films have reinforced major founding myths of the People’s Republic of China
by emphasizing specific contents of the Maoist doctrine at particular stages of
its development. At the same time it has to be noticed that regardless animation’s
disposition to fully adhere to the propagandistic function of the PRC’s cinema
production, the Chinese animated film has never presented itself as an
presented publication is the newest in the CRC Press’s Focus Animation
series that was initiated by the Professor Giannalberto Bendazzi (1946-2021).
The next volume authored by Bobrowska, “Chinese Animated Film and Ideology,
1980s. Festivals and Soft Power” will present the Sino-European opening-up at
the festivals in Annecy and Zagreb in the era of Deng Xiaoping’s reforms.
December 2, 2022 - 12 PM Małopolska Garden of Arts - Small Screening Room
ABOUT THE AUTHOR:
Olga Bobrowska is a doctor of Humanities in Arts Studies (she obtained her PhD degree at the Jagiellonian University in Krakow in 2020). She is a scholar active in the fields of animation studies, film studies and cultural theory, as well as a film culture activist and curator. Bobrowska's main fields of interest embrace studies in animation, propaganda, visual discourses of ideological doctrines, problems of politicized representation, theories of narrative, adaptation, feminism and Chinese Studies. Currently she lectures on the subject of animated film history at the Institute of Audiovisual Arts at the Jagiellonian University in Krakow. She is a festival director and co-founder of the StopTrik International Film Festival (Maribor, Slovenia / Lodz, Poland). She frequently serves as a juror at various festivals (e.g. Tricky Women/Tricky Realities International Animation Film Festival, Vienna, Austria; Animafest Zagreb World Festival of Animated Film, Zagreb, Croatia; Animateka International Film Festival, Ljubljana, Slovenia; and other festivals in Europe, USA and China), and has also served as a member of selection committees (Krakow Film Festival; Etiuda&Anima International Film Festival, Krakow, Poland). She has participated in nearly 20 international academic conferences, authored 10 academic papers published in monographs and journals and over 30 film critiques, and is also a permanent contributor to Zippy Frames, an online magazine dedicated to international art-house animation. She is a an author of a monograph Chinese Animated Film and Ideology, 1940s-1980s. Fighting Puppets (2022) and a co-editor of two collective monograph books, Obsession, Perversion, Rebellion. Twisted Dreams of Central European Animation (2016), and Propaganda, Ideology, Animation. Twisted Dreams of History (2019).