An Evaluation of the Work of Jan Svankmajer

Evaluation of Jan Svankmajer's work Jan Svankmajer's work is an animator and I do not know about other animators. With a surreal style, his artworks include a wide range of media, movies, sculptures, paintings, graphic design, prose and poetry. His movie work usually includes a combination of animation, puppet show, and live-action - this is a rewarding style to be used effectively by any filmmaker. Svankmajer movies are not for aesthetics and techniques but for dark and bad stories of trademarks, but for very personal purposes, I am going to talk about it soon.

JAN SVANKMAJER b. Czechoslovakia, Prague, September 4, 1934 Jan Svankmajer studied sculpture, painting, sculpture and surrealist artists at the University of Applied Arts in Prague in the early 1950s and entered Prague's famous entertainment in 1954 did. The university studies dolls and movie production. With these interdisciplinary skills, Svankmajer became the director and designer of the Czech National Puppet theater at Semafor Mask Theater in 1958 and 1960. His first movie - Posledn'ıprikpanaSchwarcewalldea a pana Edgara (the last trick of 1964), Hra s kameny (match with the rock of 1965) and Rakvickarna (punch and Judy of 1966) "psychological" space of the performance environment Trademark synthesis in, animated puppets and objects, special relationship between human actors and automata. The most important influence on Svankmajer is the authoritarian background of his work.

The legacy of Pal in Europe has been supported and reinforced by two major Czechoslovak characters. Influenced by the marionette and drama tradition, Jir'ıTrnka (1912-1969) and Jan Svankmajer (b.1934) created a series of extraordinary movies that promote the boundary between stopping movement and other techniques I made it. If a romantic vision affected masterpieces such as Stare'povesti ceske '(Old Czech Legends, 1953), Sen noci svatojanske (Midsummer Night's Dream of 1955), Ruka (The Hand, 1965) , Politicalization of Trnka The destructive and rewarding perspective is in bold real taboo of Alice (1988) and Otanesanec (Little Otik, 2000). This totally dark work has influenced Quay Brothers working in the UK, Kihachiro Kawamoto (born 1925) in Japan, and Tim Burton and Henry Selick in the United States. This movie is a complicated metaphor and it is a challenging comment on what humans can not solve the difference.