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