Animacja przedmiotowa („stop motion”) – nurty, granice, konteksty
Stop motion animation – currents, boundaries, contexts

Summary/Abstract: The essay looks at the phenomenon of stop motion animation from a broader, inter-textal perspective, taking into account both the spatial dependence of analogue animation on other forms of animated art and its relationship to mainstream cinema. The authors begin by discussing the deficiencies of traditional definitional categories, but do not seek to create a more precise theoretical framework. The inadequacy of the definition becomes, instead, a pretext for reflecting upon the syncretic character of the medium of stop-motion animation, manifested in both experimental works and in purely commercial productions. Using as examples selected works from the more than 100-year history of puppet-animated film, the authors follow the tendency to deconstruct the genre codes in actor-based cinema and pose the hypothesis that stop-motion cinema is by nature conducive to self-referential reflection.

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