Polish Experimental Animation Cinema 2

  • April 12, 2014 / 13:30
  • April 13, 2014 / 11:00

  • Sweet Rhythms / 1965 / Dir: Kazimierz Urbański / 6’
  • Steering My Own Destiny / 1971 / Dir: Katarzyna Latałło / 6’
  • Replica / 1975 / Dir: Kazimierz Bendkowski / 9’
  • New Book / 1975 / Dir: Zbigniew Rybczyński / 10’
  • Oh! I Can't Stop! / 1975 / Dir: Zbigniew Rybczyński / 10’
  • Portrait / 1977 / Dir: Stanisław Lenartowicz / 8’
  • Dead Shadow / 1980 / Dir: Andrzej Klimowski / 10’
  • Line / 1981 / Dir: Grzegorz Rogala / 7’
  • First Film / 1981 / Dir: Józef Piwkowski / 10’
  • Block / 1982 / Dir: Hieronim Neumann / 9’
  • Chips / 1984 / Dir: Jerzy Kucia / 10’
  • Video-disc / 1986 / Dir: Maciej Ćwiek / 4’
  • Zoopraxiscope / 2005 / Dir: Hieronim Neumann / 12’

Total running time 108’
Screenings marked with an (*) will be made with the attendance of the director, actor or producer of the film.

Polish Experimental Animation Cinema 1

Polish Experimental Animation Cinema 1

Polish Experimental Animation Cinema 2

Polish Experimental Animation Cinema 2

Polish Experimental Animation Cinema 3

Polish Experimental Animation Cinema 3

Panel: Polish Animation Cinema

Panel: Polish Animation Cinema

The Battle of Varna

The Battle of Varna

Over the years of 1864 through 1876, Stanisław Chlebowski served Sultan Abdülaziz in Istanbul as his court painter. As it was, Abdülaziz disposed of considerable artistic talents of his own, and he actively involved himself in Chlebowski’s creative process, suggesting ideas for compositions –such as ballistic pieces praising the victories of Turkish arms. 

Dancing on Architecture

Dancing on Architecture

I think it was Frank Zappa – though others claim it was Laurie Anderson – who said in an interview that ‘writing on music is much like dancing on architecture’. 

From Cypresses to Turkish Landscapes

From Cypresses to Turkish Landscapes

Among the most interesting themes in the oeuvre of Prassinos are cypresses, trees, and Turkish landscapes. The cypress woods in Üsküdar he saw every time he stepped out on the terrace of their house in İstanbul or the trees in Petits Champs must have been strong images of childhood for Prassinos.