Bretislav Pojar

Bretislav Pojar se unió en 1947 a la leyenda de la animación checa Jiri Trnka en su mítico estudio de animación de muñecos de Praga. Conviene señalar que Trnka no sabía animar, de modo que el extraordinario movimiento de los muñecos de sus películas es obra de Pojar, que adquirió con el maestro más conocimientos culturales y éticos que técnicos.
Su primera cinta importante fue Un vaso es demasiado (1953), pero sus mejores obras son aquellas que utilizan el lirismo y la sátira para ensalzar principios positivos como la paz, la libertad o la creatividad: Billares (1961), Discurso de inauguración (1962), Romance (1963) o sus tres películas para el NFBC, entre las que se encuentra su famosa E (1981).
Pojar llegó a declarar que "la animación es como la hipnosis, excepto en que en la película el hipnotizado debe ser la madera, y hay que ser un buen hipnotizador para dar vida a un muñeco".(via)


Bretislav Pojar, el señor del juego
[08-10-2003] Por Andrea Fajkusová



"E" (1981)





Part one of episode 01 : "Potkali se u Kolina"



Part two of episode 01 : "Potkali se u Kolina"








"How to Catch a Tiger" PT 1/2



"How to Catch a Tiger" PT 2/2


The third episode "How to Catch a TIger"of the "Garden" series based on the book of the same name by Jiri Trnka features four boys would like to hide from the sunshine in a shadowy garden but they are afraid of the bad tomcat they ran away from when they last visited the garden. They decide to organise a hunt in which, however, they themselves are almost chased down. They are saved from the furious tomcat by their friends, the elephants, that can even fly.

Bretislav Pojar (1923) is a big name in Czech animated film, a modern classic. A classic because of his virtuoso command of animating the traditional three-dimensional puppets he brought to life long ago in the films of Jiri Trnka, and also because of his masterful development of the art of the perfectly illusional spectacle, emitting a tender and captivating lyrical atmosphere (The Lion and the Song, The Appletree Maiden). But Pojar has also always been one for daring to try something new, and has always sought out new themes and more and more different ways to deal with the art and animation in his projects. He came up with materials that seemingly had no place in the poetic world of animated film the way they resonated with the times and turned to the mature viewer to spur him to think about his actions and the bleakness of their consequences (A Drop too Much, Bomb-Manie, Antidarwin). And most importantly, he had the idea of animating puppets in relief, playing flexibly and captivatingly with their initial forms and frequently transforming them on-screen right before our eyes; it was a game that brought filmgoers large and small joy from unexpected creative variation and unleashed imagination. Experts appreciate not only the individual works from Pojar's rich filmography but also his "two bears" series of films (Come Sir Let Us Play) and his series of boyish adventures in an overgrown garden (The Garden); everyone simply loves it. (via)




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