Final Animation Project

Jiri Trnka- Stop Motion

First five seconds


In order to adapt from my chosen animator, Jiri Trnka, I attempted to create a similar style of animation with stop motion puppets and created a small diorama. There was much preparation with creating everything before images could be taken. I think the smoothest motion can be seen from seconds 12-14.

Jiri Trnka was a Czechoslovakian puppet maker, illustrator, motion-picture animator and film director, most well-known for his puppet animations. He made a puppet theater in 1936, which was disintegrated at the flare-up of World War II. He then inundated himself into stage outline and delineation of books for youngsters. After the war finished, he set up an activity unit at the Prague film studio and soon turned out to be universally perceived as the world’s most prominent puppet artist utilizing the customary Czech strategy, and won a few film celebration grants. He received rewards just one year after entering the stop-motion world. Jiri Trnka was an influential animator of his time and has inspired many stop-motion animators to strive for the level of his intricate designs and fluid motion.

Preceding leaving upon a profession in liveliness, the able to use both hands Trnka was at that point an effective painter – “a Czech beneficiary to Odilon Redon” , even, and in addition an artist who might go ahead to enhance upwards of 130 works of writing and to win a Hans Christian Andersen Award. He was a manikin creator, a stone worker, and a set and stage planner. These gifts were bounteously all around used in his profoundly particular film work.

Regularly silent – in any event, until remote wholesalers once in a while had their way with them – Trnka’s manikin movies in any case are brimming with characters whose each feeling is prominently perceivable. This was regardless of Trnka’s discount refusal to permit his manikins any variability of outward appearance.

The Hand was Trnka’s last, and some say the best, film. An unforgiving political moral story, distinctive in substance and shape, it entirely takes after the story plot without creating expressive detail. In the film, a craftsman, content with his life, is making a pot for his most loved plant, when a monster hand shows up and arranges him to make a statue of a hand, not permitting him to make whatever else. Resistance and noncompliance take him to jail, where he is compelled to give in, at the cost of his flexibility and at last his life. A similar hand sorts out the craftsman’s state burial service, where all craftsmen are respected. This obscurely diverting moral story on totalitarianism, which won the top prize at the Annecy International Animation Festival, was banned in the Communist Czechoslovakia. When it was discharged, they expelled it as a feedback of the identity faction (Josef Stalin), yet the overall population perceived the disturbing moral story of human presence in a totalitarian culture. The Hand was an animated film that included both stop-motion and pixilation,a technique used in film whereby the movements of real people are made to appear like artificial animations.

This was the first occasion when that Trnka transparently communicated what he thought about his own unfeeling totalitarian culture. The Hand was one of the primary movies that introduced the Prague Spring. Strangely, it anticipated Trnka’s own demise. When he passed on in November 1969, he was granted a state burial service with distinction. Just four months after his passing, The Hand was boycotted, all duplicates were seized by the mystery police, and there was no screening for the following 20 years. This was how much the Communist government felt scared by the seventeen-minute manikin film.

Emperor’s Nightingale is a manikin movement exemplary in view of the story by Hans Christian Andersen highlighting a songbird who sings a melody to the Emperor, encouraging him to rebel against the inflexible convention of his sparkling yet shallow world. The Washington Post depicted it as “a lost exemplary cheerfully discovered again” and the Wired magazine observed it to be “a standout amongst the most stunningly delightful energized movies ever discharged” and “a perfect work of art of filmmaking and a creation that lifts the fine art higher than ever.”

The wide screen manikin highlight film The Midsummer Night’s Dream, an adjustment of Shakespeare’s play, voicing Trnka’s conclusions and estheticism of the manikin film, fizzled both at home and abroad. It was an all around known story with a precisely arranged screenplay (co-author J. Brdečka), splendid manikin liveliness with little discourse and sporadic portrayal. Trnka never permitted lip-sync; he thought it was primitive for manikins – as gems – to be dealt with in this way. Music was constantly liked to the talked word. He regularly talked about his ventures with the author V. Trojan, before he started taking a shot at the screenplay. At the point when the melodic score was made ahead out of the movement and he enjoyed it, he would change the activity game plan to fit the music.

The gathering of The Midsummer Night’s Dream was an incredible disillusionment for Trnka; he had worked for quite a long time on it. Days and evenings were spent shooting, with the group resting in the studio. It cost him his wellbeing. Liveliness history specialist Edgar Dutka attributes the disaster to the beautiful yet mind boggling story, which was lost on the faultfinders and group of onlookers. Trnka was firmly reprimanded at home for making l’art pour l’art (Art for Art’s Sake) and accordingly put some distance between the average workers. He shot the film with two parallel cameras since he didn’t trust in “structures seen through a letter box space.”

Trnka experimented with many different types of animation techniques from traditional cartoons in his first short cartoons to animation with shadow puppets. Even though he did not invent puppet animation, his style was different in that he did not alter the appearance of his dolls to display their emotions, but instead focused on lighting and framing. Music played an important part to him. In all his films, the composer was Vaclay Trojan.

He was one of the most famous European cartoon makers and was referred to as the “Walt Disney of Eastern Europe.” Most of his movies were meant for adults due the content and deep meanings behind each. One of the most noticeable elements of his animations is that his character’s expressions never change. His puppets also were designed very carefully and each was uniquely recognizable. No two puppets looked exactly alike.

Works Cited

“Jiri Trnka.” Jiri Trnka – New World Encyclopedia. N.p., n.d. Web. 25 Dec. 2016.

“Biography.” IMDb., n.d. Web. 25 Dec. 2016.

Howard, Cerise. “The Passion of the Peasant Poet: Jiří Trnka, A Midsummer Night’s Dream and The Hand.” Senses of Cinema. N.p., 2015. Web. 14 Dec. 2016. <;.

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