History and Theory of Animation 2
Name of lecturer(s)
Learning outcomes of the course unit
At the end of this course, students will have a general knowledge of history and theory of animation with particularl focus on Czech and East European independent original animation. They will be able to better understand the vast potential of contemporary animation (with its historical predecessors) and to identify animation’s possible current overlaps into many other creative areas.
Mode of study
Year's study of animation
Prerequisites and co-requisites
This course is suited for both animation practitioners (with personal experience in animation) and those outside animation with a general interest in understanding the particulars and history of animation
This course focuses on historical and theoretical aspects of animation. Based on the motto of one of the most current significant animation theoreticians and historians, Paul Wells: “There’s no theory without practice; no practice without theory; no progress without history.” Students will be motivated to not just absorb the knowledge passively but to come with their own interpretations, ideas and potential relevance of historical animation for contemporary animation theory and practice (and vice-versa) and animation in general.
Special focus will be on Czech (Czechoslovak) and East European independent original animation placed within an international context.
Recommended or required reading
Paul Wells, Understanding Animation. London: Routledge 2000.
Paul Wells, Animation – Genre and Authorship. London – New York: Wallflower Press 2002.
Chris Robinson, Unsung Heroes of Animation. London: John Libbey Publishing 2005.
Benjamin Cook – Gary Thomas (eds.), The Animate! Book: Rethinking Animation. London: LUX 2006.
Judith Kriger, Animated Realism: A Behind-the-Scenes Look at the Animated Documentary Genre. Oxford: Focal Press 2012.
Maureen Furniss (ed.), Animation: Art and Industry. London: John Libbey Publishing 2009.
Suzanne Buchan (ed.), Animated Worlds. London: John Libbey Publishing 2006.
Jiří Kubíček, A Report on the State of Czech Animation. Homo Felix 5, 2014, č. 1, s. 16–21.
Olga Bobrowska – Michal Bobrowski (eds.), Obsession, Perversion, Rebellion: Twisted Dreams of Central European Animation. Bielsko – Biala: Galeria Bielska BWA 2016.
Eva Strusková, Dodals. Praha: AMU 2013.
Assessment methods and criteria
A knowledge test + essay (based on the screened films and assigned readings).
Lecture with screening and follow up discussion based on the screened films and assigned readings.
Schedule for winter semester 2020/2021:
The schedule has not yet been prepared
Schedule for summer semester 2020/2021:
Room No. 3
Distance ON-Line learning, teacher Eliška Děcká, phone: +420773003741, mail: firstname.lastname@example.org
|Date||Day||Time||Tutor||Location||Notes||No. of paralel|
|Tue||11:30–13:05||Eliška DĚCKÁ||Room No. 3
|Distance ON-Line learning, teacher Eliška Děcká, phone: +420773003741, mail: email@example.com||parallel1|
The subject is a part of the following study plans
- Academy Preparation Program - Cinematography (optional subject)
- Academy Preparation Program - Animated Film (required subject with the possibility of repeat registration, optional subject)
- Academy Preparation Program - Directing (optional subject)
- Academy Preparation Program - Documentary (optional subject)
- Academy Preparation Program - Editing (optional subject)
- Academy Preparation Program - Photography (optional subject)
- Academy Preparation Program - Screenwriting (optional subject)