东欧动画电影的超现实主义渊源

Ülo Pikkov
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引用次数: 2

摘要

本文探讨了超现实主义与动画电影的关系,试图建立超现实主义动画电影的特征,并确定识别这些特征的方法。根据在研究过程中进行的访谈,我也将努力绘制当代超现实主义动画电影及其作者的地形,他们大多在东欧工作。我的主要目的是确定为什么超现实主义在二战后的东欧享有这样的相关性和活力。我将得出结论,东欧超现实主义动画电影的流行可以被视为传统的延续(布拉格是两次世界大战期间超现实主义的重要中心),以及对苏联时期社会主义现实主义范式的抗议行为。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Surrealist Sources of Eastern European Animation Film
Abstract This article investigates the relationship between surrealism and animation film, attempting to establish the characteristic features of surrealist animation film and to determine an approach for identifying them. Drawing on the interviews conducted during the research, I will also strive to chart the terrain of contemporary surrealist animation film and its authors, most of who work in Eastern Europe. My principal aim is to establish why surrealism enjoyed such relevance and vitality in post-World War II Eastern Europe. I will conclude that the popularity of surrealist animation film in Eastern Europe can be seen as a continuation of a tradition (Prague was an important centre of surrealism during the interwar period), as well as an act of protest against the socialist realist paradigm of the Soviet period.
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