FILMOGRAPHY

  • 1945 Zasadil dedek repu (short) 1945 Dárek (short) 1946 Pérák a SS (short) 1946 Zvirátka a petrovsti 1947 Spalicek 1949 Cisaruv slavik 1949 Certuv mlýn (short) 1949 Arie preire (short) 1949 Román s basou (short) 1949 Roman s basou (short) 1950 Bajaja 1951 O zlaté rybce (short) 1951 Vesely Cirkus (short) 1953 Staré povesti ceské 1953 Dva mrazici (short) 1955 Dobrý voják Svejk 1955 Cirkus Hurvinek (short) 1959 Sen noci svatojánské 1962 Kybernetická babicka (short) 1962 Vásen (short) 1964 Archandel Gabriel a pani Husa (short) 1966 Ruka (short)

  • FILMS SHOWN IN FESTIVAL ON WHEELS

  • He
    (Hand)
    Passion
    (Left)
    A Midsummer Night's Dream
    (Midsummer Night's Dream)
    He
    (RukaRuka)
    Devil's Mill
    (Certùv MlynČertův mlýn)

Jiri Trnka

Jiri Trnka, Czech animator and director of animated and puppet films, grafic artists and illustrator, painter and sculptor. Born in Pilsen, 24 February 1912, died in Prague, 30 December 1969. Between 1928-35 he attended Arts and Crafts School (UMPRUM) in Prague, in 1923 began making puppets. In 1926 he acted as asistant and designer inthe modern puppet theathre of Joseph Skupa, he also worked as newspaper cartoonist, in late 1930s he became a graphic artist, painter and book illustrator. Between 1941-42 he was a scenic artist at National Theathre in Prague. In 1945 began working as skilled painter and renowded illustrat with the invitation of the members of the studio that later became "Bratri v triku" StudiO. In 1946, he began making puppet films. His first film was a magnificient work, Spalicek (The Czech Year, 1947), in which he depicted the Czech Year from spring through winter with rural customs, rituals, work, holidays and legends. The Czech Year, part of which is Feast, is a key work which portrays the Czech attitudes tower life, work, love, fait and dead. It anticipates a number of motives from his later work, motives which Tnka would develop at different places, in different genres and which resonate throughout this work. Along the path way of puppet film, Trnka created his own world, but he also showed that puppet film has infinite expresive posibilities. He depicted ancient times in legends and myths, visions of the feature, and the world of fairy tales and of modern times. He switched genres from comedy trough parody, satire and pantomime to drama and parable. He adapted works of Andersen: Cisaruv Slavik (The Emperor's Nightingale, 1948), Checkov: Roman s Basou (Novel with a Contrabass, 1949), Hasek: Osudy dobreho vojaka Svejka (The Good Soldier Schweik, 1955), Shakespeare: Sen noci svatojanske(A midsummer Night's Dream, 1959) and Grace Boccacio: Archandel Gabriel a Pani Husa (Gabriel Mistress Goose, 1964) in to cinematic form. The work he produced