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Publications (10 of 45) Show all publications
Ajanović, M. (2019). Little Man at the Turn of the Worlds: A View of the Origin, History and the Ideological Foundation of the Phenomenon of the Zagreb School of Animated Film. In: Olga Bobrowska, Michał Bobrowski, Bogusław Zmudziński (Ed.), Propaganda, Ideology, Animation: Twisted Dreams of History (pp. 154-174). AGH University of Science and Technology Press
Open this publication in new window or tab >>Little Man at the Turn of the Worlds: A View of the Origin, History and the Ideological Foundation of the Phenomenon of the Zagreb School of Animated Film
2019 (English)In: Propaganda, Ideology, Animation: Twisted Dreams of History / [ed] Olga Bobrowska, Michał Bobrowski, Bogusław Zmudziński, AGH University of Science and Technology Press , 2019, p. 154-174Chapter in book (Other academic)
Place, publisher, year, edition, pages
AGH University of Science and Technology Press, 2019
Keywords
Animation, ideologi
National Category
Studies on Film
Research subject
HUMANITIES, Cinematography
Identifiers
urn:nbn:se:hv:diva-14227 (URN)978-83-66016-81-1 (ISBN)
Available from: 2019-07-25 Created: 2019-07-25 Last updated: 2019-08-20Bibliographically approved
Ajanović, M. (2018). Animerad verklighet. Tecknaren (6), 24-27
Open this publication in new window or tab >>Animerad verklighet
2018 (Swedish)In: Tecknaren, ISSN 0347-7673, no 6, p. 24-27Article in journal, Editorial material (Other (popular science, discussion, etc.)) Published
Place, publisher, year, edition, pages
Stockholm: Föreningen Svenska tecknare, illustratörer och grafiska formgivare, 2018
Keywords
Animation, dokumentär, svensk
National Category
Studies on Film Art History
Research subject
HUMANITIES, Cinematography
Identifiers
urn:nbn:se:hv:diva-13204 (URN)
Available from: 2018-12-17 Created: 2018-12-17 Last updated: 2018-12-19Bibliographically approved
Ajanović, M. (2018). Beyond Self-images: The Context and Development of Animated Documentaries, the Cornerstones of Modern Animation in Sweden.. In: Franziska Bruckner et al. (Ed.), Global Animation Theory: (pp. 99-116). New York: Bloomsbury Academic
Open this publication in new window or tab >>Beyond Self-images: The Context and Development of Animated Documentaries, the Cornerstones of Modern Animation in Sweden.
2018 (English)In: Global Animation Theory / [ed] Franziska Bruckner et al., New York: Bloomsbury Academic, 2018, p. 99-116Chapter in book (Refereed)
Abstract [en]

It seems that the first decades of the new millennium have brought about a small renaissance of documentaries, especially those that combine live action and animated pictures and even those visualiezd totally by employment of various animation techniques. My concern in the following chapter is the conspicuous propensity in Swedish animation towards animated documentary. In my view Sweden is the country that, besides Canada and Great Britain, has developed the most prolific production of films that merge documentary purposes and animated imagery.

In this chapter I define animated documentary, as I understand it. I will also take a look into the history of Swedish animation and documentary, with an emphasis on the features that might be the base for the development of the animated documentary. The text will also focus on some factors in the production and social background that, at least partly, explain why the animated documentary is such a prominent feature on the Swedish animation scene and, lastly, it will point at some films and filmmakers that eminently represent the genre. 

Place, publisher, year, edition, pages
New York: Bloomsbury Academic, 2018
Keywords
Animation, documentaries, Sweden
National Category
Studies on Film
Research subject
HUMANITIES, Cinematography
Identifiers
urn:nbn:se:hv:diva-13090 (URN)978-1-5013-3713-0 (ISBN)
Available from: 2018-11-01 Created: 2018-11-01 Last updated: 2019-03-12Bibliographically approved
Ajanović, M. (2018). Film i strip. Bizovac: Matica Hrvatska
Open this publication in new window or tab >>Film i strip
2018 (Croatian)Book (Other academic)
Place, publisher, year, edition, pages
Bizovac: Matica Hrvatska, 2018. p. 271
Keywords
Cinematography, film, comics, animation
National Category
Studies on Film
Research subject
HUMANITIES, Cinematography
Identifiers
urn:nbn:se:hv:diva-13029 (URN)978-953-7746-33-9 (ISBN)
Available from: 2018-10-24 Created: 2018-10-24 Last updated: 2018-10-24Bibliographically approved
Ajanović, M. (2018). The Context and Development of Animated Documentaries, the Cornerstones of Modern Animation in Sweden. In: : . Paper presented at Animafest Scanner - the Symposium for Contemporary Animation Studies.
Open this publication in new window or tab >>The Context and Development of Animated Documentaries, the Cornerstones of Modern Animation in Sweden
2018 (English)Conference paper, Oral presentation with published abstract (Other academic)
Abstract [en]

It seems that the first decades of the new millennium has brought a small renaissance of documentaries, especially those that combine live action and animated pictures and even those visualised totally by employment of some animation technique. The main concern in this paper is a conspicuous propensity in Swedish animation toward animated documentary. Arguably, Sweden is the country that, besides Canada and Great Britain, has developed the most prolific production of films that merge documentary purposes and animated imagery. The paper is composed of three parts. In the beginning the paper defines animated documentary. Swedish animation and documentary history is roughed out in the second part putting emphasis on certain features that might be the base for the development of the animated documentary. Finally, the last part focuses first on some factors in its production and social background that, at least partly, explain why the animated documentary is a prominent feature on the Swedish animation scene and, lastly, some films and filmmakers that eminently represent the genre are pointed up.  

Keywords
animation, documentary, Sweden
National Category
Studies on Film
Research subject
HUMANITIES, Cinematography
Identifiers
urn:nbn:se:hv:diva-12826 (URN)
Conference
Animafest Scanner - the Symposium for Contemporary Animation Studies
Available from: 2018-08-14 Created: 2018-08-14 Last updated: 2019-03-12Bibliographically approved
Ajanović, M. (2017). Seriously Funny: Animation, The Concealed Avant-Garde. In: : . Paper presented at Modernist Studies Association’s Annual Conference “Modernism Today”, Amsterdam, August 10-13, 2017.
Open this publication in new window or tab >>Seriously Funny: Animation, The Concealed Avant-Garde
2017 (English)Conference paper, Oral presentation only (Other academic)
Abstract [en]

The progressive migration of the European avant-gardes to America in the late 1930s compelled an adjustment of modern art practice and theory to the new cultural environment and to the needs of the cultural institutions that supported them. This radical redefinition of modern art implied the construction of a modernist canon, one that became hegemonic after WWII with the institutionalization of a discourse of modernism strictly focused on the value of form and an adherence to medium specificity. Associated with cartoons, advertising, and with popular culture in general, animation was dismissed as kitsch.  Moreover, while modernist scholars widely acknowledged film as the modernist medium par excellence, they did not pay much attention to animation, which was relegated to the category of a minor, subsidiary cinematic genre.

Inherently and unabashedly multidisciplinary (it encompasses and creatively blends painting, drawing, sculpture, film and many other artistic media), animation obdurately defied and still challenges disciplinary regulation. Animation and animation theory, developed in the interstices between modernist fields of practice and theorization such as art history and film studies, offer a unique standpoint from where to analyze modernism in art, the historiography of this discourse, and modernist theory itself.

Keywords
Animation, modernism
National Category
Humanities and the Arts
Research subject
HUMANITIES, Cinematography
Identifiers
urn:nbn:se:hv:diva-11947 (URN)
Conference
Modernist Studies Association’s Annual Conference “Modernism Today”, Amsterdam, August 10-13, 2017
Available from: 2017-12-27 Created: 2017-12-27 Last updated: 2019-03-12Bibliographically approved
Ajanović, M. (2017). Titoism and the Idea of “The Third Road” as Ideological Foundation of Zagreb School for Animated Film. In: : . Paper presented at "Twisted Dreams of History. V4 Perspective on Propaganda, Ideology and Animation", Krakow, November 23rd-24th 2017.
Open this publication in new window or tab >>Titoism and the Idea of “The Third Road” as Ideological Foundation of Zagreb School for Animated Film
2017 (English)Conference paper, Oral presentation with published abstract (Refereed)
Abstract [en]

Geographically, and ideologically, Yugoslavia stood on the border between two confronted blocks during the Cold War, but belonged to neither. The idea of ‘the third road’ was extremely popular; people really saw their country as an alternative to imperialist West and bureaucratic East.

Yugoslav regime was rarely criticized for lack of democracy; it was more fiercely attacked by the nationalist right wing, which sheds much light on the catastrophe that happened after Tito’s death.

Yugoslav film makers rarely confronted the system; they were mostly its ardent propagators. The ‘third road’ idea was popular even among the creators of Yugoslav’s best films – members of the Zagreb School of Animated film. Still, satire was an important element of Zagreb films, but the satirical razor was directed towards actual global problems, racism, colonialism, pollution, hunger, poverty, fear of the A-bomb, war, etc. Criticism was present, but it did not include social criticism. Yugoslav system was not only spared of criticism, it was, indirectly but indisputably, celebrated. The idea of a small, spiteful country existing on the borderline between two gigantic and hostile worlds was interwoven in many films made in the Zagreb studio. A small freedom oasis, surrounded by pressures, terror and danger, was an all-present motif in animated anecdotes of the leading school’s masters. A small man abused by his surrounding, who, despite the troubles, kept fighting for his way of life, his independence and neutrality was a common denominator of the authors of the Zagreb school, regardless of their artistic profile and their filmic and visual expression.

Soon after Tito’s death in 1980, the idea of the ‘third road’ turned out to be completely ‘unrealistic reality’, just like La Grande Illusion. After Gorbachov, perestroika, the fall of the Berlin wall, and the end of the cold war, the idea of the ‘third road’ and a country in between lost its initial meaning. Yugoslavia lost its international position, and moreover, dissolved in a bloody war.

Keywords
Animation, Zagreb School, Titoism, the third road, cold war
National Category
Humanities and the Arts
Research subject
HUMANITIES, Cinematography
Identifiers
urn:nbn:se:hv:diva-11946 (URN)
Conference
"Twisted Dreams of History. V4 Perspective on Propaganda, Ideology and Animation", Krakow, November 23rd-24th 2017
Available from: 2017-12-27 Created: 2017-12-27 Last updated: 2019-03-12Bibliographically approved
Ajanović, M. (2016). Sketching Out the ”Proxy Space”. In: Franziska Bukner (Ed.), : . Paper presented at Animafest Scanner (pp. 15-15).
Open this publication in new window or tab >>Sketching Out the ”Proxy Space”
2016 (English)In: / [ed] Franziska Bukner, 2016, p. 15-15Conference paper, Oral presentation with published abstract (Other academic)
Abstract [en]

Animation is usually defined as the moving image that
 is not recorded from a real-time movement but the
 movement created artificially. My concern here is the 
visualisation of the space inaccessible for either pho
tographic film image or our sensory apparatus. I see it
 as the crucial attribute of animated image that is equally 
important for understanding of the animation medium
as the movement making. What the philosopher Paul 
Crowther labelled as "proxy space in animated film"
(quoted by Donald Crafton 2013: 147) could in my own
interpretation be distinguished as the creation of the diegetic space that only exists in the viewers' imagination, and only in the moment while they are watching the film. Mise-en-scène in animation is always a symbol for a space, no matter how convincing an illusion of three dimensions is created in some particular film. Actually, many animators who are active in our time exploit the fact that digital animation made a possible perception of space totally inaccessible to the photographic film technique. For instance the penetrating camera (fly-through) dissolves the restrictions associated with the pictorial space so that we can reach what we cannot see beyond the picture's surface. However, in this short presentation I aim to examine that aspect of animation in the realm of traditionally made animated films in order to verify the view on the "proxy space" being always an essential part of the animated image regardless technical or production conditions.In order to explore varied approaches toward the creation of "proxy space" I will look at some canonical films produced during the golden age of Zagreb School of Animation. Those films made by Vladimir Kristl, Dušan Vukotić, Borivoj Dovniković, Vatroslav Mimica and Nedeljko Dragić, provide lot of evidences that prove that animation space stands for an inherent liberation from the limitations of the laws of physics and entering into the world of the fantastic, symbolical and metaphorical. Employing various minimalistic methods the Zagreb animators created a complex multi-dimensional representation of space. By using several film examples I am going to emphasise five different methods in this paper.

Keywords
Animation, space
National Category
Studies on Film
Research subject
HUMANITIES, Cinematography
Identifiers
urn:nbn:se:hv:diva-9422 (URN)
Conference
Animafest Scanner
Available from: 2016-06-19 Created: 2016-06-19 Last updated: 2016-06-21Bibliographically approved
Ajanović, M. (2016). Usamljeni detektiv u svijetu pohlepe i lazi/Lonely detective in a world of greed and lies: Jedan pogled na  dugovječnu tradiciju tvrdo kuhanog trilera u literaturi i na filmu/One look at the long-lived tradition of hard-boiled thriller in literature and film.. Hrvatski filmski ljetopis/Croatian Film Chronicle, 22(85), 163-196
Open this publication in new window or tab >>Usamljeni detektiv u svijetu pohlepe i lazi/Lonely detective in a world of greed and lies: Jedan pogled na  dugovječnu tradiciju tvrdo kuhanog trilera u literaturi i na filmu/One look at the long-lived tradition of hard-boiled thriller in literature and film.
2016 (Croatian)In: Hrvatski filmski ljetopis/Croatian Film Chronicle, ISSN 1330-7665, Vol. 22, no 85, p. 163-196Article in journal (Other academic) Published
Abstract [en]

This essay is centred on the phenomenon of the specific socially critical so-called hard-boiled thriller that distinguished itself as a separate film genre in the USA already during 1920s. The reason for this should be looked for in the everyday life that provide versatile stimuli and inspiration, but first of all in hard-boiled literature that rose to stardom in this period. Another typical American genre, western, deals with the, not only geographically, but also strictly time-limited vision of American history in the years of expansion and settlement (the beginning of western coincides with the emergence of the Colt revolver and its end with the time when cars replaces horses) and in principle represents a glorification of American history and system. However, crime film has a tendency to adjust its framework to the changing historical circumstances, different and new media and is integrated in other cultures, most frequently as an eminent critique of capitalist society. Dashiell Hammett, author and screenwriter, played the most prominent role in the process of genre defining. He basically created the American-type thriller and made it an independent literary genre. Although he authored only a small number of literary works and although he has been more or less completely unrecognized by the academic and literary establishment, with is prose Hammett stimulated the development of the hard-boiled thriller and the aesthetic model on which it was based which transferred from literature to feature film and from there to other media as well, such as comic book and videogames. The model was successfully adapted to non-American environments as well in the form of original hybrids such as Scandinavian thriller for example. What Hammett inserted into crime literature, and indirectly into film and other media as well, is the perception of reality embodied through the modelling of protagonists and a complete relativisation of the line between good and evil. As a man who was all but apolitical, he contemplated society from the inside, from its darker and unembellished, but artwise much more stimulating side, formulating the hard-boiled thriller as a specific socially critical discourse.  On the one hand, this essay is constructed as an analytical overview of the development of genre, its characteristic and significance, and on the other hand as an attempt to provide arguments for the thesis on the stableness of the model, and its vitality, durability as well as pronounced presence in other media and non-American cultures. Regardless of time periods, different characteristics related to theme and style, and subgenres (crime film, gangster film, film noir, police drama, etc.), hard-boiled thriller is, just like Aristotle’s three-act structure, demonstrated as a magic formula on which a highly critical vision of the dominant modern civilisation system related to state, values and culture was based for almost an entire century.

Place, publisher, year, edition, pages
Zagreb: , 2016
Keywords
: hard-boiled thriller, crime film, gangster film, detective, film noir, fatal lady, mafia, America, capitalism.
National Category
Studies on Film
Research subject
HUMANITIES, Cinematography
Identifiers
urn:nbn:se:hv:diva-9425 (URN)000384040000020 ()
Available from: 2016-06-21 Created: 2016-06-21 Last updated: 2018-03-20Bibliographically approved
Ajanović, M. (2015). 100 years of Swedish Animation. In: : . Paper presented at International Film Festival Etiuda&Anima, Krakow (pp. 119-127). Krakow
Open this publication in new window or tab >>100 years of Swedish Animation
2015 (English)Conference paper, Published paper (Other (popular science, discussion, etc.))
Place, publisher, year, edition, pages
Krakow: , 2015
Keywords
Swedish animation
National Category
Humanities
Research subject
HUMANITIES, Cinematography
Identifiers
urn:nbn:se:hv:diva-8789 (URN)
Conference
International Film Festival Etiuda&Anima, Krakow
Available from: 2015-12-14 Created: 2015-12-14 Last updated: 2019-02-20Bibliographically approved
Organisations
Identifiers
ORCID iD: ORCID iD iconorcid.org/0000-0002-7111-9661

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