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In many cult films, we often notice numerous scenes featuring plants, an intriguing phenomenon present even in movies by Jan Svankmajer. As we know, Jan Svankmajer’s work was heavily influenced by the painter Arcimboldo, incorporating abundant natural elements like plants, vegetables, and trees. Consequently, we can observe these elements appearing in Jan Svankmajer’s creations during…

When it comes to Foucault’s “Discipline and Punish,” we not only delve into the dynamics of power and control but also ponder its implications for childhood development and education. Foucault emphasizes how modern society shapes and standardizes individuals through institutionalized means such as prisons and schools. He points out that this disciplinary process isn’t solely…

Carl Plantinga understands film emotions as the elicitation and evocation of emotions in audiences by movies. He believes that films trigger emotional responses in viewers, engaging them within the cinematic world. Plantinga argues that emotions are not passively consumed but rather interactively engaged with during the viewing process, rooted in the narrative, characters, and plot…

Stopmotia Interviews: Jan Švankmajer (youtube.com) STOPMOTIA’s interview with Jan Svankmajer holds significant research value regarding Jabberwocky and the artist himself. It delves into the origins of his creations and the impact of his upbringing on his artistic endeavors. He also mentions several influential figures who have shaped his creative process. “Among those whom we try…

Stopmotia Interviews: Jan Švankmajer (youtube.com) STOPMOTIA’s interview with Jan Svankmajer holds significant research value regarding Jabberwocky and the artist himself. It delves into the origins of his creations and the impact of his upbringing on his artistic endeavors. He also mentions several influential figures who have shaped his creative process. “Among those whom we try…

Zdeněk Liška (16 March 1922 – 13 August 1983) was a Czech composer who produced a large number of film scores across a prolific career that started in the 1950s. He was revelatory in his contribution to the development of electronic music. His music in this field is noticeable and dramatic, based on a unique musical feeling achieved through using…

In Švankmajer’s career, there were three periods of exploration of the “touching”: The first period was 1964-1972, during which Švankmajer mainly created short animation films, and he collected a wide range of objects for use in his animation work, with the intention of finding the “touch” of neglected objects. The second period was 1973-1980, the…

“This was supposed to be a regular feature film, but since we didn’t have the money we had to use a much simpler technique: paper cutout animation.”  Jan Švankmajer in the opening half apology Stop-motion has always been one of Jan svankmajer’s primary forms of animation expression, and the emotional and narrative characterisation brought about by…

As Laura Ivins-Hulley points out, however, performance through stop motion “carries a paradoxical indexality: the puppet tangibly exists outside the film, but its movement does not” (2008, p. 61). “Bring life to everyday obejects.”Švankmajer’s use of stop-motion animation in his filming technique is similar to the way children manipulate dolls during their childhood.Children make an…

In this part we can see Arcs and Staging here.The bell moves in a rounded arching motion here.At the same time we can see the cat running on the roof.And his body is also arched.And we can see both of these two characters from the specific angle，which makes the fight in the scene more intense…