| Acknowledgments |
|
xi | |
| Introduction: The Origin of European Animation |
|
xiii | |
|
|
|
1 | (4) |
|
The Discovery Of Vienna At The North Pole |
|
|
1 | (1) |
|
|
|
1 | (1) |
|
|
|
2 | (1) |
|
|
|
3 | (2) |
|
|
|
5 | (4) |
|
|
|
5 | (1) |
|
The Eesti Joonisfilm Studio In Talinn |
|
|
5 | (1) |
|
The Spider Queen Of Gadgetville |
|
|
6 | (1) |
|
|
|
6 | (1) |
|
|
|
6 | (2) |
|
|
|
8 | (1) |
|
|
|
9 | (18) |
|
|
|
9 | (1) |
|
The Crab With The Golden Claws |
|
|
10 | (1) |
|
|
|
11 | (1) |
|
Belgium As Catalyst Of The European Comic Scene |
|
|
12 | (2) |
|
|
|
14 | (2) |
|
|
|
16 | (9) |
|
|
|
25 | (1) |
|
|
|
26 | (1) |
|
|
|
26 | (1) |
|
|
|
27 | (6) |
|
Typewriter Paper And No Chairs |
|
|
27 | (1) |
|
An Angel Borrowed From Jean Effel |
|
|
28 | (2) |
|
Caricatures And Limited Animation |
|
|
30 | (1) |
|
|
|
30 | (1) |
|
|
|
31 | (2) |
|
Chapter 5 Czechoslovakia: Czech Republic And Slovakia |
|
|
33 | (14) |
|
|
|
33 | (1) |
|
|
|
34 | (2) |
|
|
|
36 | (1) |
|
Karel Zeman And The Fabulous World Of Jules Verne |
|
|
37 | (2) |
|
Two Americans In Prague: Tom & Jerry |
|
|
39 | (3) |
|
|
|
42 | (1) |
|
Famu: Prague Film And Television Academy Of Performing Arts |
|
|
43 | (1) |
|
|
|
43 | (3) |
|
|
|
46 | (1) |
|
|
|
47 | (10) |
|
Egmont H. Petersen And Disney |
|
|
47 | (1) |
|
|
|
48 | (2) |
|
|
|
50 | (3) |
|
A. Film Production And Two Mozzies |
|
|
53 | (2) |
|
The Animation Workshop (Taw) In Viborg |
|
|
55 | (1) |
|
|
|
55 | (1) |
|
|
|
56 | (1) |
|
|
|
56 | (1) |
|
|
|
57 | (10) |
|
|
|
57 | (1) |
|
Tove Jansson In Moominworld |
|
|
58 | (1) |
|
|
|
59 | (1) |
|
Angry Birds At The Stock Exchange |
|
|
60 | (1) |
|
Funding Animation In Finland |
|
|
61 | (1) |
|
Two Experts Commenting On Comics And Animation In Finland |
|
|
62 | (4) |
|
|
|
66 | (1) |
|
|
|
67 | (16) |
|
Wladyslaw Starewicz, An Alchemist Of Animation |
|
|
67 | (2) |
|
French Animation During German Occupation |
|
|
69 | (1) |
|
Paul Grimault: The King And The Bird |
|
|
70 | (1) |
|
|
|
71 | (1) |
|
|
|
71 | (1) |
|
|
|
72 | (1) |
|
|
|
73 | (1) |
|
|
|
74 | (1) |
|
|
|
75 | (1) |
|
|
|
75 | (1) |
|
|
|
76 | (2) |
|
|
|
78 | (2) |
|
|
|
80 | (1) |
|
|
|
81 | (2) |
|
|
|
83 | (86) |
|
The Adventures Of Prince Achmed |
|
|
83 | (1) |
|
The March Of The Cigarettes: George Pal And Oskar Fischinger |
|
|
84 | (2) |
|
A Plea For Dimensional Color Films |
|
|
86 | (3) |
|
Walt Disney Visits Nazi Germany |
|
|
89 | (3) |
|
Bee-Sting Swastika: How The Nazis Planned To Outdo Disney In Europe |
|
|
92 | (3) |
|
|
|
95 | (7) |
|
A Snow Man Doesn't Survive Summer |
|
|
102 | (8) |
|
The European Way Of Animation Under German Occupation |
|
|
110 | (5) |
|
The Denazification Of German Animation |
|
|
115 | (2) |
|
|
|
117 | (3) |
|
|
|
120 | (1) |
|
Little Mainz Men And The Hb Man |
|
|
121 | (2) |
|
East Germany: Defa Studio Fur Trickfilme |
|
|
123 | (1) |
|
The Conference Of The Animals |
|
|
124 | (1) |
|
Two Foxes And A Golden Sickle |
|
|
125 | (2) |
|
Asterix Conquers Germany (But Not America) |
|
|
127 | (1) |
|
|
|
128 | (3) |
|
German Producers Go Feature-Length |
|
|
131 | (2) |
|
|
|
133 | (4) |
|
|
|
137 | (1) |
|
|
|
138 | (4) |
|
|
|
142 | (3) |
|
|
|
145 | (2) |
|
|
|
147 | (4) |
|
Stuttgart Festival Of Animated Film |
|
|
151 | (10) |
|
|
|
161 | (1) |
|
|
|
162 | (3) |
|
|
|
165 | (4) |
|
|
|
169 | (12) |
|
|
|
169 | (1) |
|
Howard (Watergate!) Hunt And The Animal Farm |
|
|
169 | (2) |
|
Sinbad And The Argonauts On The River Thames |
|
|
171 | (5) |
|
Yellow Submarine In Swinging London |
|
|
176 | (2) |
|
|
|
178 | (1) |
|
|
|
179 | (2) |
|
|
|
181 | (4) |
|
|
|
181 | (1) |
|
An Emmy Not For Greek Animation But For A Greek Animator |
|
|
182 | (2) |
|
|
|
184 | (1) |
|
|
|
185 | (6) |
|
George Pal And John Halas |
|
|
185 | (1) |
|
|
|
185 | (1) |
|
Ferenc Mikulas And The Kecskemet Animation Studio |
|
|
186 | (3) |
|
|
|
189 | (1) |
|
|
|
189 | (2) |
|
|
|
191 | (2) |
|
|
|
193 | (4) |
|
The Legend Of Sullivan And Bluth |
|
|
193 | (2) |
|
|
|
195 | (1) |
|
|
|
196 | (1) |
|
|
|
197 | (6) |
|
Pinocchio, An Italian Property |
|
|
197 | (1) |
|
|
|
198 | (1) |
|
|
|
199 | (2) |
|
|
|
201 | (2) |
|
Chapter 16 The Netherlands |
|
|
203 | (8) |
|
The Puppetoons In Eindhoven |
|
|
203 | (1) |
|
|
|
204 | (1) |
|
Kurt Gerron And The Seven Nazi Dwarfs |
|
|
205 | (1) |
|
Reynard, The Fox Behind The Swastika |
|
|
205 | (2) |
|
|
|
207 | (1) |
|
From Short To Animated Feature Films |
|
|
208 | (1) |
|
|
|
209 | (2) |
|
|
|
211 | (2) |
|
|
|
211 | (1) |
|
|
|
211 | (2) |
|
|
|
213 | (6) |
|
|
|
213 | (2) |
|
|
|
215 | (1) |
|
The Polish School Of Animation |
|
|
216 | (1) |
|
|
|
217 | (1) |
|
|
|
218 | (1) |
|
|
|
219 | (2) |
|
Tragic Story With Happy Ending |
|
|
219 | (1) |
|
The Wrong Side Of The Bed |
|
|
219 | (2) |
|
|
|
221 | (4) |
|
|
|
221 | (1) |
|
|
|
221 | (2) |
|
|
|
223 | (2) |
|
|
|
225 | (2) |
|
A Box Filled With Miserable Creatures |
|
|
225 | (2) |
|
|
|
227 | (8) |
|
|
|
227 | (1) |
|
|
|
227 | (1) |
|
How Cgi Created An Animated Forest |
|
|
228 | (1) |
|
|
|
229 | (1) |
|
|
|
230 | (2) |
|
Luis Bunuel And The Dragon Keeper |
|
|
232 | (2) |
|
|
|
234 | (1) |
|
|
|
235 | (4) |
|
|
|
235 | (1) |
|
|
|
235 | (1) |
|
|
|
236 | (1) |
|
|
|
237 | (1) |
|
|
|
237 | (1) |
|
|
|
238 | (1) |
|
|
|
239 | (2) |
|
|
|
239 | (1) |
|
|
|
239 | (1) |
|
|
|
240 | (1) |
|
|
|
240 | (1) |
|
Chapter 25 Zagreb (Croatia) |
|
|
241 | (210) |
|
|
|
241 | (8) |
|
|
|
249 | (1) |
|
|
|
250 | (2) |
|
The Problems With 3D Computer Animation |
|
|
252 | (3) |
|
|
|
255 | (2) |
|
Instead Of An Afterword: The Various Names Of The Shadow Devil |
|
|
257 | (6) |
|
A Who's Who Of Producers, Directors, Writers And Animators Working In Europe |
|
|
263 | (66) |
|
A Chronology Of European Animation |
|
|
329 | (122) |
| Bibliography |
|
451 | (6) |
| Index |
|
457 | |
Biežāk uzdotie jautājumi par e-grāmatām