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Animation in Europe
There is a lot one could say about animation in Europe, but above all, there is no consistent European animation. It is as disparate as the various countries involved. Audiences will certainly recognize American or Japanese animation, but in Europe, it can range from Czech, Polish, and Hungarian to Greek, Italian, Spanish, Portuguese, French, and British. Animation in Europe provides a comprehensive review of the history and current situation of animation in over 20 European countries. It features numerous interviews with artists and producers, including rare documents and firsthand accounts that illustrate the rich history of animation in Europe. Additional features include • An extensive chronology with key events in European animation • A Who’s Who of producers, directors, writers, and animators working in Europe • An examination of the origin of European animation and its influence Animation in Europe is the first book devoted entirely to this topic and, therefore, will be of value for animation buffs as well as practitioners and researchers.
Animation in Germany
This book provides a comprehensive account of German animation history, as well as an analysis of the current state of the industry in competition with American and cheaper international products in the face of dwindling budgets. Covering film and TV, 2D and 3D animation, the book considers how Europe has lost its domestic territory of narratives to international competitors. A connection is made between film history and contemporary history: World War I, the Weimar Republic, National Socialism, World War II, the Federal Republic and German Democratic Republic, Reunification, the European Union, Digitalization and Globalization, and a turn of eras initiated by pandemic, war and inflation. This book will be of great interest to academics, students, and professionals working and researching in the field of animation.
Nazi Propaganda Films
Hitler and the Nazis saturated their country with many types of propaganda to convince the German citizenry that the Nazi ideology was the only ideology. One type of propaganda that the Nazis relied on heavily was cinematic. This work focuses on Nazi propaganda feature films and feature-length documentaries made in Germany between 1933 and 1945 and released to the public. Some of them were Staatsauftragsfilme, films produced by order of and financed by the Third Reich. The films are arranged by subject and then alphabetically, and complete cast and production credits are provided for each. Short biographies of actors, directors, producers, and other who were involved in the making of Nazi propaganda films are also provided.
The Nosferatu Story
Director F.W. Murnau's Nosferatu: A Symphony of Horror, made in 1921, right after the devastating Spanish Flu pandemic, has become the ultimate cult classic among horror film buffs around the world. For years there was much speculation about the production background, the filmmakers, and their star, the German actor Max Schreck. This book tells the complete story drawing on rare sources. This book tells the complete story, drawing on rare sources. The trail leads to a group of occultists with a plan to establish a leading film company that would produce a momentous series of horror movies. Along the way, the author touches upon other classic German fantasy silents, such as The Golem, The Cabinet of Dr. Caligari and Metropolis.
Animation Under the Swastika
Among their many idiosyncrasies, Adolf Hitler and Joseph Goebbels, the Nazi minister of propaganda, remained serious cartoon aficionados throughout their lives. They adored animation and their influence on German animation after World War II continues to this day. This study explores Hitler and Goebbels' efforts to establish a German cartoon industry to rival Walt Disney's and their love-hate relationship with American producers, whose films they studied behind locked doors. Despite their ambitious dream, all that remains of their efforts are a few cartoon shorts--advertising and puppet films starring dogs, cats, birds, hedgehogs, insects, Teutonic dwarves, and other fairy-tale ensemble. While these pieces do not hold much propaganda value, they perfectly illustrate Hannah Arendt's controversial description of those who perpetrated the Holocaust: the banality of evil.
Acting and Character Animation
Animation has a lot to do with acting. That is, character animation, not the standardized, mechanical process of animation. Acting and animation are highly creative processes. This book is divided into two parts: From film history we learn about the importance of actors and the variety of acting that goes into animation; then, we will turn to the actor's point of view to describe the various techniques involved. Through exhaustive research and interviews with people ranging from the late Ray Harryhausen, Jim Danforth, Joe Letteri, and Bruno Bozzetto, this book will be the primary source for animators and animation actors. Key Features Interviews with industry legends are found throughout this exhaustive work on animation From film history we learn about the importance of actors and the variety of acting that goes into animation, then turn to the actor's point of view to describe the various techniques involved Coverage of acting from Vaudeville to Rotoscoping to Performance Capture Case studies throughout bring the content to life while providing actionable tools and techniques that can be used immediately
Animation in Croatia
This book provides a comprehensive account of Croatian animation history, as well as an analysis of background factors such as political and social circumstances and cultural heritage that influenced the great international success of Croatian animators between the 1960s and 1980s. The book focuses on the history of the Zagreb School of Animated Film, which produced dozens of extremely significant animated films between the 1960s and 1980s, which constituted an important epoch in the development of film animation as an artistic form. It provides a case study of three important films: Dnevnik by Nedeljko Dragic, Don Kihot by Vladimir Kristl and Koncert za masinsku pusku by Dusan Vukotic. The book also covers modern Croatian animation developed after the independence of the country. This book will be of great interest to academics, students and professionals working and researching in the field of animation.
Chinese Animation
With an output of more than 250,000 minutes annually, and with roughly 5,000 producers and production units, the Chinese are leading the field of animated films. Although it is almost impossible to completely cover 90 years of filmmaking, this book provides a comprehensible introduction to the industry's infancy, its Golden Age (Shanghai Animation Film Studio) and today's Chinese animation (in feature films, television series and student films). There are classics such as Princess Iron Fan (made at the time of the Japanese occupation) and the color Havoc in Heaven, both starring the Monkey King Sun Wukong, as well as countless TV stars (Blue Cat, Pleasant Goat and Big Big Wolf) and many almost unknown works by young filmmakers who are not focusing on an audience of children (like most of the industry output).
Hitler's Police Battalions
When the German Wehrmacht swarmed across Eastern Europe, an elite corps followed close at its heels. Along with the SS and Gestapo, the Ordnungspolizei, or Uniformed Police, played a central role in Nazi genocide that until now has been generally neglected by historians of the war. Beginning with the invasion of Poland, the Uniformed Police were charged with following the army to curb resistance, pacify the countryside, patrol Jewish ghettos, and generally maintain order in the conquered territories. Edward Westermann examines how this force emerged as a primary instrument of annihilation, responsible for the murder of hundreds of thousands of the Third Reich's political and racial enemies. ...
That was the Wild East
An illuminating exploration of the cultural politics of the East-West unification and its subsequent impact upon German filmmaking
