Европейската авторска анимация като глобално явление
The European Animation Auteur аs а Global Phenomenon

Summary/Abstract: The notion of authorship is central regarding matters of art. The article argues that animation is the most auteurist of film practices. In this case the notion can be applied literally and not as a metaphor as it has been used in fiction cinema starting from the nouvelle vague in the 50’s. After the World War II in europe, divided in two antagonistic blocks, the animated cinema paradoxically shows similarities in its evolution. The two opposite models in production and ideology on both sides of the Berlin wall give birth to analogical processes in the auteurist animation creating comfortless obscure films, existential or psychoanalytical works or social grotesques. The authors share analogical ideas in narration and style despite the social and political differences in the countries they live in. They easily overstep state borders paying tribute to vanguard stylistics and developing the language of art. The process went global including countries from all over the world. Nowadays the cinema auteur has already disappeared and dissolved in the postmodern practices in fiction film. It seems that only animation still treasures up the values of the auteurist cinema. The article shows some of the codes of the auteurist language in animation regarding the works of such artists as Yuriy Norshteyn, Alexander Petrov, Jan Lenica, Gisele and ernest Ansorge, Raoul servais, Jan svankmajer, Jiri Trnka and many others.

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