Change search
Refine search result
1 - 45 of 45
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf
Rows per page
  • 5
  • 10
  • 20
  • 50
  • 100
  • 250
Sort
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
Select
The maximal number of hits you can export is 250. When you want to export more records please use the Create feeds function.
  • 1. Ajanovic, Midhat
    Crtic kao zanr: pristup zanru u filmskoj i digitalnoj animaciji2009In: Hrvatski filmski ljetopis, ISSN 1330-7665, no 43/45, p. 99-105Article in journal (Other (popular science, discussion, etc.))
  • 2.
    Ajanovic, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    De visuella tonsättarna II: Animationens mästare i urval2012Book (Other (popular science, discussion, etc.))
    Abstract [sv]

    Filmvetare Midhat »Ajan« Ajanovic har valt ut ytterligare 30 av sina favoriter i

    De visuella tonsättarna 2. Förutom klassiska animatörer som Bruno Bozzetto, Ray Harry -

    hau sen, Ub Iwerks, Chuck Jones, Jerzy Kucia, Ryan Larkin och Len Lye finns

    nyare världsberömda namn som Igor Kovaljov, Chris Landreth, John Lasseter, Michel Oce -

    lot, Nick Park och Peter Lord (Aardman), Joanna Quinn, Pjotr Sapegin, Georges Schwiz -

    ge bel och Koji Yamamura också med. Även framstående svenskar som Johannes Nyholm

    och Jonas Odell uppmärksammas förstås.

    Boken är andra delen av en planerad heltäckande animationshistoria samlad i fyra populärvetenskapliga böcker.

  • 3.
    Ajanovic, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Između sna i smijeha/Between dream and laughter: Luis Bunuel – život, karijera i dvije duboke brazde koje je prvak filmskog nadrealizma zaorao/Luis Bunuel – life, career and a profound imprint left by the pioneer of surrealist cinema2015In: Hrvatski filmski ljetopis/Croatian Film Chronicle, ISSN 1330-7665, no 82-83, p. 05-36Article in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    The paper gives an overview of the work, career and poetics of Luis Bunuel, the most important surrealist in the world (active in the cinema of several countries – France, Mexico and Spain). The paper explains the roots of Bunuel’s poetics that derive from the filmmaker’s life experience and different art forms (Goya, Cervantes), his cinema role models (Lang, Eisenstein), his status among other filmmakers, social environment, provocation methods, stylistic techniques, his favorite themes and worldviews (for example, sexuality and constant criticism of Christianity in his films), the context of surrealist art and relationship with film industry. Although very often demonstrating a lack of interest for the rules of the dominant cinema, the traditional film making, even opposing in a planned and explicit manner, Bunuel proved, states the author of the paper, that he could participate (both as director and producer) even in the classical feature film cinematic framework. Considering the wide variety of surrealist (and avant-garde) cinema in general and the complexity of the work by Luis Bunuel, the paper tackles Dada elements and different types of surrealism. Finally, the paper examines the traces of surrealism in cinema and animated film in the post-Bunuel period (and undoubtedly under his influence).

  • 4.
    Ajanovic, Midhat
    University West, Department of Economics and Informatics. University West, Department of Economics and IT, Division of Computer Science and Informatics.
    Ohrozený megalopolis japaneského ANIME 32011In: Homo Felix, ISSN 1338-2268, no 1, p. 71-72Article in journal (Other (popular science, discussion, etc.))
  • 5.
    Ajanovic, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Ohrozený megalopolis japaneského ANIME  42011In: Homo Felix, ISSN 1338-2268, no 2/2011, p. 67-71Article in journal (Other academic)
  • 6.
    Ajanovic, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Ohrozený megalopolis japaneského ANIME 72013In: Homo Felix. The international journal of animated film,, ISSN 1338-2268, Vol. IV, no 1, p. 68-71Article in journal (Other academic)
  • 7.
    Ajanovic, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Polish Animation Between Two Golden Ages2012In: Etiuda&Anima, 2012, p. 164-164Conference paper (Other academic)
  • 8.
    Ajanovic, Midhat
    University West, School of Business, Economics and IT, Division of Media Production.
    The True Giant of Animation: The combination of skillful fingers and animation technique transformed mundane lumps of clay into some of the 20th century's funniest and smartest "people", Their home is the famous animation studio Aardman.2013In: Catalogue, 36th Göteborg International Film Festival, 2013, ISSN 1102-6448, Vol. 1, no 1, p. 13-20Article in journal (Other (popular science, discussion, etc.))
  • 9.
    Ajanovic, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Ženska crta britanskog animiranog filma/Feminine current of British animation: Bokumentarizam, društveni angažman i feminizam britanske animacije.2011In: Hrvatski filsmi ljetopis/Croatian Film Chronicle, ISSN 1330-7665, no 65/66, p. 24-46Article in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    In the animated film of the 1970s and later, the modernist poetics of, for example, theZagrebSchoolstarted to feel outdated. This was the reason for the a whole group of new female and male authors to emerge and to tackle pressing social issues, including animated cinema as a new, alternative medium for public debate. Among a number of social issues tackled primarily in British and Canadian films, the field of gender inequality and the position of women in the society came to the foreground. The paper also follows the history of female presence in animated film and the history of female topics' affirmation in this medium, starting with Helen Smith Dayton, Lotte Reiniger and Mary Ellen Bute, to Marjut Rimminen and the influence of the Channel Four production (producer C. Kitson), or rather the authors such asCaroline Leaf, Angela Martin, Candy Guard, Alison Snowden, Karen Watson and Gillian Lacey. Special attention is dedicated to Alison De Vere and Joanna Quinn. Non.British authors are mentioned as well, such as Monique Renault. What is particularly interesting is the influence of British documentary tradition (alo0ng the lines of John Grierson( which blended with animated film and other visual arts traditions. However, in animated films women had to struggle for the right to comedy as an artistic choice as well because the prejudice related to female sense of humor was extremely strong. The author concludes by stating that contemporary animation does not discriminate against women at all.  

                                                                                                 

     

     

  • 10.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    100 years of Swedish Animation2015Conference paper (Other (popular science, discussion, etc.))
  • 11.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    A vivid connection: Comics and animation as a context for understanding the work of Nedeljko Dragic i Kresimir Zimonic2011In: Hrvatski filmski ljetopis/Croatian Film Cronicle, ISSN 1330-7665, no 68, p. 25-50Article in journal (Other academic)
    Abstract [en]

    Some of the most prominent authors of the Zagreb School of Animation were (or still are) equally active in the field of animations as in the field of caricature and comics. The co-dependency of interrelation of these two fields in terms of aesthetics, mindset and semiotics is being examined on the example of Nedeljko Dragic andKresimir Zimonic. The history of comic strips and caricature is brought into relation with animated film and with the emergence of modernist animation in particular. Moreover, a special emphasis is placed on the influence of the incursion of specific aesthetic movements, known as comic book schools, on the Croatian comic scene.   

      

     

     

     

  • 12.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    An Attempt at Reading and Understanding the Animated Film Don Quixote by Vladimir Kristl2015In: Animation: A World History: Volume II: The Birth of a Style / [ed] Giannalberto Bendazzi, Oxford: Focal Press , 2015, p. 71-75Chapter in book (Refereed)
    Abstract [sv]

    Ett kompletterande kapitel om Zagrebskolan för animerad film.

  • 13.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Animacija i modernizam / Animation and modernism.2013In: Hrvatski filmski ljetopis/Croatian Film Chronicle, ISSN 1330-7665, no 75, p. 27-44Article in journal (Refereed)
    Abstract [en]

    Many important periods of the history of animation arose directly from and are part of the radical modernist wave with the epicentre in the USA that bombarded the world of animation after World War II and the influence of which is still felt today. Explaining the origin of American modernist animation in propaganda and commercial film, as well as in eminent artistic aspirations for artistic freedom, Ajanovic describes the main characteristic and the importance of production of the UPA animation studio, i. e. John Hubley, Stephen Bosustow and other leading figures of animation, placing their work within the production frames of the epoch and stressing their importance. By doing so, he argues in favour of the term modernist animation – a term that is much more precise and useful when analysing the mentioned phenomena – instead of the term reduced or stylized animation.

  • 14.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Computer Science and Informatics.
    Anime ohrozený megalopolis japaneského 2010In: Homo Felix, no 1, p. 68-71Article in journal (Other (popular science, discussion, etc.))
  • 15.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Animerad verklighet2018In: Tecknaren, ISSN 0347-7673, no 6, p. 24-27Article in journal (Other (popular science, discussion, etc.))
  • 16.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Animerat skådespeleri som berör: Filmaren Chris Landreth sätter fokus på nya vågar ut ur "kusliga dalen"2012In: Göteborgsposten, ISSN 1103-9345, p. 66-66Article, book review (Other (popular science, discussion, etc.))
  • 17.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Beyond Self-images: The Context and Development of Animated Documentaries, the Cornerstones of Modern Animation in Sweden.2018In: 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. 

  • 18.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Bizarre and Depoliticized2014Conference paper (Other (popular science, discussion, etc.))
  • 19.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Black Trains through Dark Landscapes2014In: Catalogue, 37th Göteborg International Film Festival, ISSN 1102-6448, no 1, p. 19-24Article in journal (Other academic)
  • 20.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Ett gammalt medium för ett nytt lärande2011In: / [ed] Peter Sigrén, Högskolan i Borås, 2011, Vol. 9, p. 137-150Conference paper (Other academic)
  • 21.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    ”F” kao Fellini / ”F” som Fellini2011In: Sarajevske sveske/Sarajevos Litterära Tidskrift, ISSN 1512-8539, no 35-36, p. 379-389Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    En personligt präglat studie i Federico Fellinis liv och arbete.

  • 22.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Film i strip2018Book (Other academic)
  • 23.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Computer Science and Informatics.
    Little man at the turn of the worlds : A view of the origin, history and basis of the phenomenon of the Zagreb School of Animated Film 2010Other (Other (popular science, discussion, etc.))
  • 24.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    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 Film2019In: 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)
  • 25.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Computer Science and Informatics.
    Mannen som tecknade Musse Pigg2010In: Göteborgs-Posten, no 18/12, p. 114-114Article in journal (Other (popular science, discussion, etc.))
  • 26.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Computer Science and Informatics.
    Nedovrsena prica2010In: Kvadrat, ISSN 1845-8009, no 22, p. 93-95Article in journal (Other (popular science, discussion, etc.))
  • 27.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Ohrozený megalopolis japaneského ANIME 52012In: Homo Felix. The international journal of animated film, ISSN 1338-2268, Vol. 3, no 1, p. 68-72Article in journal (Other (popular science, discussion, etc.))
  • 28.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Penicilin protiv mrznja2014In: Mediacenter SarajevoArticle in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Medicinen mot hatet

    I texten studeras karikatyr och satirbild som ett oersättligt utryck för yttrandefrihet i den massmediala epoken. Textens utgångspunkt är en paradox att karikatyrkonsten blivit ett hett diskussionsämne på samma tid som denna uttrycksform försvinner från vecko- och dagspress.

    Debatten startades efter publiceringen av det nedvärderande karikatyrframställningar av profeten Muhammed i danska och svenska tidningar som de islamtroende upplevde som förolämpande. I texter kortfattat behandlas liknande historiska exemplen på karikatyrer som uppfattades som nedvärdering och förolämpning riktad mot annan etnisk och religiös tillhörighet. Så till exempel publicerades en rad karikatyrer som hånade mormoner i den amerikanska pressen i början av 1900-talet, under en lång period gestaltades svarta på ett ytterst rasistiskt sätt, det fanns karikatyrer som utryckte antisemitism, rysofobi, sexism och misogyni.

    Parallellt med en propagandistisk och ofta av mediamakten missbrukad karikatyr utvecklades även en annan typ av karikatyr och skämtteckning, en som fungerade som en symbol för odogmatisk världssyn, en form av motstånd mot tyranni och en befrielse från terror och den exploatering som människan utövar mot andra människor.

    Ett behov av satiriska och parodiska karikatyrer finns även i de nutida samhällen, såväl de med en lång demokratisk tradition som de samhällen där demokratiska processer befinner sig i en utvecklingsfas.

    Just för dess aktiva roll inom den demokratiska utvecklingen i ett visst samhälle hävdar texten att karikatyrkonsten måste vara tillbaka i massmedier. Dessutom bör karikatyrkonstens studeras som ett akademiskt ämne i samband med studier i konst, journalistik och kommunikationen. 

  • 29.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Priit Pärn2015In: Animation: A World History: Volume III: Contemporary Times / [ed] Giannalberto Bendazzi, Oxford: Focal Press , 2015, p. 140-144Chapter in book (Refereed)
    Abstract [sv]

    Ett kompletterande kapitel om animation i Estland

     

  • 30.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Procvat cjelovečernje animacije (Renaissance of full-length animation): Srastanje dokumentarnog i animiranog filma jedan je od najinteresantnijih fenomena u medijskoj industriji našeg doba, osobito stoga što se u toj formi neke važne teme, pogled na stvarnost i historiju tretiraju na sasvim drugačiji način od onog u standardnim medijima.2015In: Mediacentar, SarajevoArticle in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    Linking up documentary and animated film is one of the most interesting phenomena in the media industry of our time especially as animated documentaries treat some important topics, view of reality and history in a different way from that of the standard media. 

  • 31.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    "Psychorealism" vs "The Uncanny Valley": Chris Landreth comes across as a digital animation heir to Norman McLaren2012In: Catalogue, 35th Göteborg International Film Festival, ISSN 1102-6448, no 1, p. 25-29Article, book review (Other (popular science, discussion, etc.))
  • 32.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Seriously Funny: Animation, The Concealed Avant-Garde2017Conference paper (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.

  • 33.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Sketching Out the ”Proxy Space”2016In: / [ed] Franziska Bukner, 2016, p. 15-15Conference paper (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.

  • 34.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Swedish animated film - 100 Years: Animated children's films, commercials, animated documentaries, as well as films influenced by comics made by distinct individualists are the cornerstones this cinematic phenomenon is based on.2015Conference paper (Other academic)
  • 35.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Computer Science and Informatics.
    Tamna strana Potemkinovih kulisa: sovjetski animirani film od animiranih agitki do animacije otopljavanja u filmovima Fjodora Hitruka 2010In: Hrvatski filmski ljetopis, ISSN 1330-7665, Vol. 63, p. 70-93Article in journal (Other (popular science, discussion, etc.))
  • 36.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    The "Clayman" from Norway and his worlds2011In: Catalogue, 34th Göteborg International Film Festival, januari - februari 20011, Vol. 34, no 34, p. 16-20Article in journal (Other (popular science, discussion, etc.))
  • 37.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    The Context and Development of Animated Documentaries, the Cornerstones of Modern Animation in Sweden2018Conference paper (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.  

  • 38.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    The Feast of Humoristic Drawing2012In: Catalogue, 40th World Gallery of Cartoons – Skopje 2012, no 1, p. 2-3Article in journal (Other (popular science, discussion, etc.))
  • 39.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    The man and the line: Monographyc study of the work of animator, cartoonist and comics author Nedeljko Dragic2014Book (Other academic)
    Abstract [en]

    Nedeljko Dragic is without doubt one of the most important creators not only in the Zagreb School of animation but of cartoon films in general, if we accept this term as designating a particular subspecies within the medium of the animated image. However, because of several factors, not unimportant among them the author’s personal bohemian and nonchalant attitude to his work, his films and his other works have not to date been adequately studied.

    Dragic’s film animation, and also his comic strips and cartoons, are works of great complexity and stratified symbolism. Instead of treating animated artificial movement as a mimetic reflection of reality, as the great majority of his colleagues worldwide does, Dragic was practically from the beginning of his career interested in the concept of idea in motion, thought brought to life, visual anthropology and, especially topical in our time, documentary animation. For Dragic the viewer is an active consumer, and for him the act of projection is inter-sub- jective communication, an approach that has only become customary in our post- modern time. This, of course, is not the result of coincidence but of the intuition of an author who is turned to the future with all the force of his creative energy.

    This is why I decided on a combined form of monograph and author study, with emphasis on scholarly analysis and contextualisation in film history, not on the kind of text that is usually tailored to suit books of this kind. Therefore, the aim and purpose of this book is to lay an analytical foundation for the definitive contextualisation and evaluation of Nedeljko Dragic’s work in Croatian culture, and the development of the animation medium on the global level.

    I planned the book on several levels, where each chapter takes us one step further towards some aspect of Dragic’s opus, unaffected by time and still as interesting and provocative today at it was about half a century ago, when the majority of his works were created.

    The introductory chapter is a collection of personal notes about meetings with Nedeljko DragiÊ and the birth of the idea about this book, a process that lasted for decades.

    The second chapter focuses on Dragic the cartoonist, because, in my opinion, it was in this activity that all the preconditions developed which crucially determined the aesthetics of his animated films. Dragic the artist grew out of the modern cartoon, a tradition that differed comple- tely from the idea about the cartoon as a comical drawing, a drawn joke. The modern cartoon, whose prominent representative Saul Steinberg greatly influenced the formation of Dragic’s worldview as an author, is in the first place stamped by a wealth of symbolism and a great ran- ge of subjects which include practically all the basic philosophical issues about man and his world. Dragic’s experiences as a cartoonist fundamentally determin- ed him as a cineaste, animator, satirist and creator in general, sensitive to some of the basic moral issues of our time.

    The third chapter deals with the history of the contacts between and intertwining of comics and animation as a context for understanding Dragic’s work. In this chapter analysis focuses on the comic Tupko, which Dragic made for Vecernji list and which functions as a bridge notonly between his cartoons and films, but also serves to bring his entire opus toget- her into a coherent whole.

    The fourth chapter is a presentation of Nedeljko Dragic’s films, based on his personal attitude to each of them and showing characteristic excerpts from their critical reception.

    To completely understand the value of Dragic’s work, it must in my opinion be placed in the context of film history and global modernist processes in the animation medium, in the evolution of which an essential stage belongs to the phenomenon known as the Zagreb School. This is the purpose and ambition of the fifth chapter of the book. Dragic’s films grew out of and belong to the modernist wave that swept through animation from America after the 1940s and 1950s. This period brought a new trend in cartoon films, characterised by a different sensibility both in visual stylisation and approach to animation. This new current, known as limited animation in older film literature, meant a radical move away not only from the so-called Disney model but also from what was, for example, being created by Avery, Jones, Tashlin and other prominent authors in the Warner Bros. studio. Some important circumstances influenc- ed this development of animation, such as the war, change of lifestyle, industrialisation, the appearance of television, which soon became the main distributor of the animated picture, modern design and art in general. All these tendencies, after an initial spur from the United States, found fertile soil in, among other places, the Zagreb Animation Studio, and Nedeljko Dragic was one of the leading promoters and practicians of this trend.

    A precondition for any attempt to interpret Dragic’s work is the establishment of precise analytical instruments on which this analysis can be based. The- refore, the sixth chapter deals with animation semiotics, which has so far hardly ever appeared in its pure form, at least not in texts in languages that I know. I derived here this barely existent scholarly discipline from the relatively well-established film semiotics, because of the kind- red nature of the moving picture in animation and film (photography), whose basic characteristics are highly coincidental. I also see a reason for this approach in the fact that film semiotics often treat animation in a rather confused and contradictory manner. I will build a specific model for interpreting Dragic’s animation in the first place on the basis of the work of Yuri Lotman, an Estonian structuralist semiotician.

    The final chapter of the book is a long and detailed interview with Dragic himself, who comments all the essential issues concerning his work, the Zagreb School and animation in general from his own point of view.

     

  • 40.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    The Puppet-Actor in Virtual Environment: Theatrical puppetry, cinema puppetry, digital puppetry2014Conference paper (Other academic)
    Abstract [en]

    Abstract

    My concern is animated puppetry in the digital era. Actually, this presentation is a brief depiction of a much larger "to-be-a book" project.

    Puppet comes from pupa, Latin for "small creature that portray human".

    The idea about a movable, humanlike object emerged in puppet theatre but blossomed in animated film. By using an inanimate objects as an actor puppet animators create worlds we recognize as a deeper, metaphorical truth of own world. Animators are tasked with creating expressions and emotions for their artificial figures, thus turning them into characters.

    That is why probably no other form of creating moving pictures is lavished with as much time, care and passion as stop-motion. In difference to live-action directors that direct living people, the animation director directs his or her own deepest feelings through the material, which allows practically unlimited space for individualism and creativity. By touching the models the animator leaves traces of his life on them so the feelings and spiritual state emanate from puppet-films as some sort of fantastic reportage about the dreams hidden deep in their creators.A great number of important puppet-animators such as Starewitz, Zeman, Ewald, O?Brien, Moss, Trnka, Pall, Kajer, Kawamoto, Borowczyck, Barta, Shorina, Svankmajer or Burton developed the type of iconoclastic aesthetic of the three-dimensional animation.

    But what happened with the illusion of "living" object in the modern 3D computer animation? Can we consider the three-dimensional figures created with the help of some software application as puppetry?

    I argue that digital puppetry could be seen as a new stage in the development of this form of expression whose basic characteristics largely coincide with cinema puppetry and theatrical puppetry.

    In this presentation I focus on a phenomenon sometimes called "uncanny valley",or rather a reduced emotional response, which I see as one of the main reasons for some doubts and confusion in recent discussions concerning digital animation. Absence of human touch and tactile sensation in digital pictures contributes to a form of dehumanization in 3D CGI animation because of the fact that mathematic accuracy in digitally created characters may not elicit the intended empathetic response in the viewer.

    I present three ways in which the problem is usually addressed by animators: (1) creating puppet characters that are in appearance markedly non-human or non-realistic, based on a tradition inherited from theatrical and cinema puppetry, (2) employing some documentary methods, (3) applying a kind of surreal quality to the performing puppet.

  • 41.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Throbbing Desire: During the 70s and 80s, a feminist animation movement grew forth with the Czech creator Michaela Pavlátová as one of the central figures. This year’s animator in focus is an exuberant fountain of ideas who with humor and rich imagery portrays inequality, masturbation and unhappy marriage.2015In: Catalogue, 38th Göteborg International Film Festival, Göteborg, 2015, no 01, p. 23-28Chapter in book (Other (popular science, discussion, etc.))
  • 42.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Titoism and the Idea of “The Third Road” as Ideological Foundation of Zagreb School for Animated Film2017Conference paper (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.

  • 43.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Tragajuci za vidljivim pojmom / Searching for visible concept: Pokusaj definiranja semiotike animiranog filma na primjeru opusa Nedjeljka Dragica / An attempt to define animated film semiotic on the example on Nedeljko Dragic's work.2012In: Hrvatski filmski ljetopis / Croatian Film Cronicle, ISSN 1330-7665, Vol. Sommar 2012, no 70, p. 91-118Article in journal (Other academic)
    Abstract [en]

    The text looks at semiotics in animation, a branch of semiotic which, as far as the author knows, has practically never appeared in its pure form. Such barely existing scientific discipline is here derived from the comparison with a relatively established film semiotics, considering the similarity between animated and film (photographic) moving images, the basic characteristics of which in most pert overlap. A case study was conducted on the animated films by  Croatian author Nedeljko Dragic, due to their complexity and richness of layers in terms of symbolic charge. Instead of treating the artificial movement in animation as a mimetic reflection of reality, as most of his colleagues do, Dragic takes interest in a moving concept, in a thought brought to life, in visual anthropology amd in animated documentarism, particular topical in our times. For Dragic, a viewer is an active consumer snd he perceives the act of screening as intersubjective communication, an idea that will become popular only in our postmodern times. Of course, this is not a coincidence, this is the intuition of the author who has always looked at the future with the full force of his creative energy.

    Key words: Animated film, semiotic, sign, Nedeljko Dragic, Passing Days, Diary, Tup-Tup        

  • 44.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    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.2016In: Hrvatski filmski ljetopis/Croatian Film Chronicle, ISSN 1330-7665, Vol. 22, no 85, p. 163-196Article in journal (Other academic)
    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.

  • 45.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Vlado Kristls Don Quijote2011In: Maske und Kothurn, ISSN 0025-4606, E-ISSN 2305-0667, ISSN ISSN 0025-4606, no 3-4, p. 237-244Article in journal (Other academic)
    Abstract [en]

    The author studies the animated film Don Quixote (1962) by Vladimir Kristl and sees it as one of the first works of art which depicts a mechanical and dehumanized world marked by the loss of subjectivity and the violent erasure of cultural differences between people as an image of global civilization.

1 - 45 of 45
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf