ANIMAFEST SCANNER IX | SYMPOSIUM FOR CONTEMPORARY ANIMATION STUDIES | PANEL 1 GLOBAL ANIMATION AND ITS HISTORY - TRIBUTE TO GIANNALBERTO BENDAZZI
The Modernist Aesthetics of the Bulgarian Animation School in 1960s and its Collage Cut-out Use Through the Influence of the Modern Graphic and Poster Design - Velislava Gospodinova (Lecturer, New Bulgarian University, Sofia, Bulgaria)
PANEL 1: GLOBAL ANIMATION AND ITS HISTORY – TRIBUTE TO GIANNALBERTO BENDAZZI
07/06 TUE 15:05-15:35
The pursuits of modernist aesthetics in animated cinema from the mid-twentieth century followed similar paths, albeit differing in pace and consistency depending on their geographical location. The process of implementing and mastering modernity in Bulgarian animation practice occurred with some delay, which was due to its later development in the history of world animation, but also due to the intense political and cultural changes in Bulgaria at that time. Nevertheless, the Bulgarian authors managed to quickly find their own way in the transitional years, to catch up with the modernist direction and to establish themselves alongside the internationally recognized examples of animated cinema. Multiple factors and preconditions influenced the modernist aesthetic pursuits of Bulgarian artists in their mastering of the stylized, simplified, minimalistic graphics combined with limited movement and experimental audio-visual means of expression. The path they were following was very similar to that of UPA artists, as well as directors from Eastern Europe, such as Zagreb School of Animation. Although it was not possible to find a steady proven link for a direct impact between those foreign animation authors and the Bulgarian animation directors of the 50s and 60s, even if there are some occasional examples of such links, the sources of inspiration from modern graphic and poster design, as well as from modern art for all of them are comparable. The creative stimulation for Bulgarian artists came in the form of multiple exhibitions of Central and Western European posters, as well as an influx of foreign graphic design periodicals like the Swiss magazine Graphis, the West-German Gebrauchsgraphik, the East-German Neue Werbung and others. The relaxed censorship in Bulgaria at the end of the 50s in the fields of both graphic design and animation, although based on the presumption of their lower status in comparison with the fine “high” arts, actually gave them the unique chance to flourish and take a truly modernistic course.
Velislava Gospodinova is a Bulgarian animation director based in Sofia. Her short animation films The Lighthouse (2009), The Blood (2012) and Firebird (2017) have been presented at numerous international film festivals. She works commercially as a freelance art director, storyboard artist and animator. She is also a lecturer in directing animation at New Bulgarian University in Sofia. Currently she is a PhD candidate in the department of Cinema, Advertising and Show Business at New Bulgarian University, with a thesis on the development and application of the cut-outs in animation.