Zbornik Slon 2008

ZbornikThe Elephant AnthologySlon

1 2 Vzgojno-izobraževalni program animiranega filma Slon Educational Animation Film Programme the Elephant

Zbornik Slon The Elephant Anthology

zbornik o vzgoji in izobraževanju na področju animiranega filma Anthology on Education in Animation Film

Pedagoško gradivo za učitelje in starše III Pedagogical Materials for Teachers and Parents III 4 Vzgojno-izobraževalni program animiranega filma Slon Educational Animation Film Programme the Elephant

Zbornik Slon The Elephant Anthology

Izdajatelj / Published by Društvo za oživljanje zgodbe 2 koluta / Two Reels - Association for the Reanimation of Storytelling, Neubergerjeva 16, 1000 Ljubljana, Slovenia Za založnika / For the Publisher Urška Jež Sozaložnik / Co-published by Javni zavod Kinodvor Urednica / Editor Hana Repše Besedila / Texts Mirjana Borčić, Marina Estela Graça, Martina Peštaj, Borko Radešček, Hana Repše, Domen Rupnik, Irena Weber Prevod / Translation Maša Peče Lektura / Proofreading Manuela Knezoci Kop, Mojca Hudolin Fotografije / Photos Nada Žgank, Hana Repše, Arhiv Društva za oživljanje zgodbe 2 koluta Oblikovanje / Design Domen Rupnik S finančno podporo / With the support of Filmski Sklad RS / Slovenian Film Fund Tisk / Press Multiprojekt d.o.o. Naklada / Printing 500 Ljubljana, 2008

CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana

791.228:37(082) 791.5(082)

ZBORNIK Slon: vzgojno-izobraževalni program animiranega filma Slon = The Elephant Anthology: Educational Animation Film Programme the Elephant / [besedila Mirjana Bor- čić ... [et al.]; urednica Hana Repše; prevod Maša Peče; fotografije Nada Žgank, Hana Repše, arhiv Društva za oživljanje zgodbe 2 koluta]. - Ljubljana: Društvo za oživljanje zgodbe 2 koluta: Javni zavod Kinodvor, 2008

ISBN 978-961-92264-3-8 (Društvo za oživljanje zgodbe 2 koluta) 1. Vzp. stv. nasl. 2. Borčić, Mirjana 3. Repše, Hana

242387456 Content

A Word from the Editor Hana Repše 6

The Elephant Encourages Active Watching Martina Peštaj 8

Animated Film - Lessons in Autonomous Thinking Mirjana Borčić 10

The Advent of Animation Domen Rupnik 18

Creative Animation Methodologies With Children: State of the Research Marina Estela Graça 22

Animation Film as Part of a Broader Film Education for Children with Special Needs Borko Radešček 30

Animation Film / Animation as Part of Art Education Lessons Hana Repše 40

The Elephant Children's Programme at Animateka 2008 51

The Elephant – a Helper in Life And the Classroom Martina Peštaj 52

programme 2008 54

Content References of Individual Animation Films Martina Peštaj 56

Azur & Asmar 77

Azur & Asmar Pedagogical Materials Irena Weber 82

The Elephant's Puppet Shows 92

The Elephant's Activities for Children Throughout the Year 96 4 kazalo

Besede urednice Hana Repše 7

Slon spodbuja aktivno gledanje Martina Peštaj 9

Animirani film - šola samostojnega mišljenja Mirjana Borčić 11

Razmah animacije Domen Rupnik 19

Ustvarjalne animacijske metodologije za delo z otroki: raziskovalna faza Marina Estela Graça 23

Animirani film kot del širše filmske vzgoje otrok s posebnimi potrebami Borko Radešček 31

Animirani film / animacija pri pouku likovne vzgoje Hana Repše 41

Otroški program Slon na Animateki 2008 51

Slon - pomočnik pri pouku in v življenju Martina Peštaj 53

Spored 2008 55

Vsebinska izhodišča posameznih animiranih filmov Martina Peštaj 56

Azur in Asmar 77

Azur in Asmar pedagoško gradivo Irena Weber 83

Slonove lutkovne predstave 93

Aktivnosti Slon za otroke čez leto 97 5 A Word from the Editor

he Elephant Anthology on Education in Animation Film is a unique rarity in the T global perspective. Its aim is the exchange of opinions, experiences and knowledge regarding the purpose, methods and forms of introducing and presenting animation film, intended for teachers or parents who wish to broaden the horizon of younger generations. The Anthology consists of approaches from various mentors as well as concrete starting points for discussions on selected animated films.

It is a novelty in the international cultural space, extending an invitation to participa- te to both local and international individuals, institutions, artists and other animation enthusiasts.

The purpose of our project is to stress the importance of creative, active and continuous education in animation film. Correct approaches can encourage already a young child to distinguish quality audiovisual forms from those of lesser quality. And if we consider the fact that animated film or cartoon is still often perceived as the “children's film ge- nre”, than fostering an intensive and deeper consideration of this subject is of the utmost importance. Viewing – guided observing – of selected animation films can further and facilitate the development of critical thinking in children, while the practical work and workshops stimulate their creativity, also in the use of the so called new media.

The Elephant Anthology continues the tradition of The Elephant Pedagogical Materials for Parents and Children II while introducing a novelty – an enhancement of Part One with the introduction of a broader, international discourse on education in animation film.

Hana Repše

6 Besede urednice

bornik Slon, zbornik o vzgoji in izobraževanju na področju animiranega filma je Zv svetovnem smislu edinstven. Usmerjen je k izmenjavi mnenj, znanj in izkušenj o pomenu, metodah in oblikah podajanja snovi animiranega filma, ki jih učitelji ali star- ši, lahko uporabijo za širjenje obzorja mlajšim generacijam. Zbornik sestavljajo prakse različnih mentorjev in konkretna izhodišča za pogovore ob izbranih animiranih filmih.

Za mednarodni kulturni prostor je novost, ki vabi k sodelovanju domače in tuje posame- znike, institucije, ustvarjalce in druge ljubitelje animiranega filma.

Namen projekta je opozoriti na pomen kreativnega, aktivnega in kontinuiranega pouče- vanja o animiranem filmu. Pravi pristopi lahko že pri otroku spodbujajo prepoznavanje kvalitetnih in manj kvalitetnih avdiovizualnih oblik. Če pa izpostavimo, da animirani film oz. risanko še danes marsikdo dojema kot “zvrst za otroke”, je skrb za intenzivno poglabljanje v to tematiko toliko bolj pomembna. Z gledanjem - usmerjenim opazova- njem - izbranih animiranih filmov lahko pripomoremo k otrokovem razvijanju kritične- ga mišljenja, s praktičnim delom pa spodbujamo njegovo ustvarjalnost, tudi pri uporabi t.i. novih medijev.

Zbornik Slon ni samo nadaljevanje Pedagoškega gradiva za starše in učitelje II, ampak predstavlja nadgradnjo prvega dela v smislu vzpostavitve mednarodnega diskurza o po- učevanju o animiranem filmu.

Hana Repše

7 The Elephant Encourages Active Watching

he Elephant Educational Animation Film Programme presents a rarity in Slo- T venia. It introduces children and youth to a plethora of carefully selected animation films by domestic and foreign authors, made in various animation techniques and expressing different personal poetics through interesting, humorous and sometimes dee- ply moving stories. Selected films are thoughtfully arranged with regard to audience age, while viewings are accompanied by discussions with pupils and students before and after the screening. By providing these talks we wish to offer the audience an active viewing experience, and encourage them toward focusing their attention, fostering a sensitivity for form and content, and developing their personal thought, the ability to recognize patterns of behaviour, communication and reflection, to evaluate and reference back to their own personal experiences. This active viewing of films presents the best and most effective starting-point for children and youth to develop their own creative expressions. The Elephant also provides for the teachers – by preparing pedagogical materials to ac- company the screenings we wish to excite them for the endless possibilities the animation film holds for educational use and their professional work with children.

Martina Peštaj Media Psychologist

8 Slon spodbuja aktivno gledanje

zgojno-izobraževalni program animiranega filma Slon je v našem prostoru izje- V men. Otrokom in mladim predstavlja skrbno izbrane animirane filme domačih in tujih avtorjev, najrazličnejših animacijskih tehnik in poetik, z zanimivimi, zabavnimi, včasih tudi presunljivimi zgodbami. Filmi so premišljeno razporejeni glede na starost gledalcev, program pa je pospremljen s pogovori z učenci pred in po ogledu filma v ki- nodvorani. S tem jim želimo omogočiti izkušnjo aktivnega gledanja ter jih spodbuditi k usmerjanju pozornosti in občutljivosti za obliko in vsebino filma, pa tudi k razvijanju lastne refleksije: prepoznavanju vzorcev razmišljanja, sporazumevanja in vedenja, vre- dnotenju in povezovanju z lastnimi izkušnjami. Aktivno spremljanje filma je najboljše izhodišče za poznejše lastno ustvarjalno izražanje otrok in mladih. Slon skrbi tudi za učitelje – s pedagoškimi gradivi, ki jih ob filmih pripravimo, jih skušamo navdušiti nad neskončnimi možnostmi uporabe animiranega filma pri njihovem delu z otroki.

Martina Peštaj medijska psihologinja

9 Mirjana Borčić Animated Film – Lessons in Autonomous Thinking

Children love animated film. Their love Because a child’s perception of the wor- is successfully provided for by produ- ld is not yet limited by prejudice, he is cers of a varied artistic and commercial much more open to new contents and provenance. Thus the offered produc- forms, than the adult. The artist’s ima- tion of animated films for children is gination entertains the child, simulta- especially abundant and versatile. We neously offering a path into the hidden, can hardly determine the number of submersed world of the child’s own children’s animated films, made by imagination. The door to the myste- authors belonging to different crea- rious and precious world of creativity tive perspectives since the cinemato- lays wide open. At the same time, this graphic beginnings. The entire period is a preparation for a creative, inventive has been marked by constant explora- attitude towards life itself, and toward tions into the limits and possibilities of fulfilling the individual’s personal and film animation. Yet the greatest accom- professional dreams. plishment of contemporary animation authors is that animated film has Through experimenting with technique without hesitation and to the farthest the authors explore the expressive extent opened its doors to imaginati- possibilities of animated film and cre- on. By doing so the authors not only ate entirely new worlds. The variety of offer the children an opportunity to styles manifested in cartoons, puppet discover and adopt the unbridled lan- and other animation films, unhindered guage of animation, but to accustom in their use of the most diverse materi- themselves to different approaches als, testifies to the fact that animation to content and technique, to develop artists have en masse and already by their ability to familiarize themselves mid-20th century surpassed the limits and comprehend the projected unkno- of the Disneyan reign. In addition, this wn, and to accept and incorporate new has drawn the attention of parents, te- contents and forms without hesitation, achers, distributors and movie theatre in a way only children can. managers to the fact that the animation

10 Mirjana Borčić Animirani film - šola samostojnega mišljenja

Otroci ljubijo animirani film. Tej ljube- zni uspešno strežejo producenti različne umetniške in komercialne naravnanosti. Tako je ponudba animiranega filma za otroke izredno številčna in vsestranska. Težko je določiti količino animiranih filmov za otroke, ki so jih, odkar film obstaja, posneli avtorji različnih ustvarjalnih konceptov. Obdobje zaznamuje Otroška delavnica na Animateki 2007 / nenehno raziskovanje možnosti filmske Children workshop on Animateka 2007 animacije. Največja zasluga sodobnih avtorjev animiranega filma pa je v tem, va, hkrati pa mu tudi odpira pot v pri- da je animirani film na široko, brez ome- kriti svet lastnih domišljijskih predstav. jevanj, odprl vrata domišljiji. Avtorji so Odpirajo se mu vrata v skrivnostni in tako otrokom ponudili priložnost, da se dragoceni svet ustvarjalnosti. Hkrati je poleg tega, da usvajajo nebrzdano go- to priprava na ustvarjalni odnos do ži- vorico animiranega filma, navajajo na vljenja nasploh ter do uresničevanja člo- različne vsebinske in likovne prijeme, vekovih osebnih in poklicnih sanj. razvijajo sposobnost vživljanja v ponujeno neznano ter brez zavor, tako kot to Avtorji s pomočjo tehnike raziskujejo zmore le otrok, sprejemajo nove vsebi- izrazne možnosti animiranega filma ter ne in nove oblike. ustvarjajo nove svetove. Stilna pestrost risanih in lutkovnih oziroma predme- Ker otrokovo sprejemanje sveta še ni tnih filmov, ki brez zadržkov uporabljajo omejeno s predsodki, veliko lažje kot različne materiale, priča, da so ustvarjal- odrasli prisluhne novim vsebinam in ci množično, že sredi prejšnjega stoletja, oblikam. Avtorjeva domišljija ga zaba- prestopili prag “disneyevske” vladavine.

11 Mirjana Borčić film production consists of a variety of on filmmaking which employed new ar- approaches and it is, therefore, neces- tistic approaches and opened the doors sary not to dismiss this rich diversity in of animation to imagination and inven- content and art form. tiveness. This applied to children’s films just as well. Previously, these films more Thus a production varied in style and or less imaginatively reproduced subjec- propelled by the swift advancement of ts already known to the child. It was the- television came to the fore almost un- refore easy for young viewers to follow noticed during the mid-20th century. the action, to identify with and accept The strength of prevailing stereotypes, its proposed moral. They effortlessly guiding the young and old audiences in accepted the offered images, reverbe- their media preferences, began to crum- rated time after time, in one variation ble. Offering the audience a concept, or another. Strictly speaking, watching which employs fictive images to mimic films meant little more than entertain- human behaviour with the aim of con- ment, not demanding a greater emotio- veying a particular moral, had until that nal response or an effort of thought. time become so strongly rooted, that in the opinion of parents, teachers and The second half of the century brought theatre managers, these were the films about significant changes in understan- most understandable, if not even most ding the role of film within youth edu- appropriate for children. The artists – cation. It became clear that animation, explorers of film animation possibilities which was and remains extremely po- – did not share these views. They broa- pular among younger generations, can dened the scope of animation film with serve as an excellent springboard for a variety of subjects and styles, renoun- systematic instruction and education cing the literate mimicking of humans of the youngest film audiences. The su- and animals. bject matter and style variety expressed by animation film authors was a good In this period television became the starting-point for the implementation number one broadcaster of children’s of educational principles, dedicated animated films. The demand for more to fostering a tolerant attitude towards and more animated films required faster the new and less known. Film educati- and cheaper methods of production. It on aims at encouraging the viewers to mediated the development of animati- free themselves of acquired clichés and 12 Mirjana Borčić

Opozorila pa je tudi starše, učitelje, dis- va vzpodbudila snemanje animiranih tributerje in upravnike kinematografov, filmov drugačnih likovnih konceptov da v ponudbi animiranega filma za otro- ter na široko odprla vrata domišljiji. ke obstajajo različni koncepti ter da je Tudi v tistih filmih, ki so bili namenjeni nujno prisluhniti tej bogati, vsebinski in otrokom. Pred tem so filmi največkrat likovni različnosti. z več ali manj domišljije le obnavljali otrokom že znane vsebine. Mladi gle- Tako se je v drugi polovici prejšnjega dalci so zaradi tega zlahka sledili doga- stoletja neopazno uveljavila stilno pe- janju v filmu, se identificirali z junaki in stra ponudba, ki jo je pospeševal hitri sprejemali moralo filma. Brez napora so razvoj televizije. Skrhala se je trdnost sprejemali ponujeno, saj je bilo že ne- dotakratnih prevladujočih stereotipov, štetokrat povedano, čeprav na različne ki so močno zaznamovali okus mla- načine. Največkrat je bilo gledanje filma dih in odraslih gledalcev. Ponujanje zanje pravzaprav le zabava, ki od gledal- koncepta, ki z izmišljenimi podobami, ca ni zahtevala večjega čustvenega odzi- oponaša vedenje človeka in gledalcu va in miselnega napora. ponuja moralni nauk, se je uveljavilo do te mere, da so starši, učitelji in upravni- V drugi polovici prejšnjega stoletja je ki kinematografov menili, da je takšen prišlo do vidnih sprememb v pojmova- film otroku najlažje razumljiv, če ne celo nju vloge filma v vzgoji mladih. Izkazalo zanj najbolj primeren. Ustvarjalci - razi- se je, da je animirani film, ki je bil in je še skovalci možnosti filmske animacije, so vedno pri mladih prav posebno prilju- tej miselnosti nasprotovali. V animirani bljen, dobra odskočnica za sistematično film so vnesli raznolikost vsebin in stilov osveščanje najmlajših filmskih gledal- ter se odrekli dobesednemu oponašanju cev. Vsebinska in oblikovna pestrost v človeka in živali. ustvarjalnosti avtorjev animiranega filma je bila dobro izhodišče za uresniči- V tem obdobju je postala televizija naj- tev vzgojnih načel, ki naj bi navajala na večji predvajalec animiranega filma za strpen odnos do novega, manj znanega. otroke. Potreba po večjem številu ani- S filmsko vzgojo naj bi dosegli, da bi se miranih filmov je zahtevala hitrejši in gledalci osvobodili priučenih klišejev in cenejši postopek. Posredno je ta zahte- stereotipov ter da bi samostojno, s po- 13 Mirjana Borčić stereotypes, and to form a personal atti- ewer was thus forced to create his or her tude toward any individual film autono- own value system, which could later be mously – based on their own experien- confirmed, adjusted or dismissed. And ce and knowledge. these are the very beginnings of a critical perception of the films, animated or Animated film, in particular short ani- other, that are screened in theatres. mation, presented itself as the fastest way toward realizing the goals of film Owing to these facts, it is the nature of education. The authors of children’s ani- the film production on offer which mat- mation films succeeded in penetrating ters most to film education. A meanin- the closed circle of depicting variations gful array of different styles teaches the on the elementary themes, which foste- acceptance of difference in art, as in life, red the mimicking of existing life forms. it fosters a tolerant relationship toward The makers increasingly abandoned the approaches varying in content and form, established thematic and formative ste- and unburdens the viewer of acquired reotypes. The spectator, accustomed to stereotypes. It enables the individual to this monotony, suddenly found himself submerse into the portrayed. It deman- faced with a film that demanded a diffe- ds sensory, emotional and intellectual rent approach and subsequently a more activity. In essence, it is a process which active engagement. He was forced to rely strives at bringing up viewers who are on his imaginative powers, and children critical in their acceptance of the medi- proved to be more successful in doing ated ideas and models, who do not ea- so than adults. They responded to the sily succumb to manipulation, and who unknown and the different with ease, rationally manage the established and while most adults (parents, teachers, imposed prejudices. Animation offered theatre managers) had difficulty coping these possibilities. The experience gain- with the diversity, which suddenly made ed in animation film education can then all things possible. Confronting the un- become reinforced when watching and known required an instant and simulta- discussing short, full-length, documen- neous evaluation of the observed matter. tary or live action films. There was a need to establish a relation toward the portrayed, the unknown – If live action and documentary film- the silent, motionless, imageless stories, making directly records the action in not resembling reality. The young vi- front of the camera, the animated film 14 Mirjana Borčić močjo svojih izkušenj in znanj, obliko- ki ga je potem lahko potrdil, spremenil vali lasten odnos do katerega koli ponu- ali odklonil. To so pravzaprav zametki jenega filma. kritičnega sprejemanja ponujenega filma, ne samo animiranega. Animirani film, posebno kratki, je bil najkrajša pot do uresničitve tega smotra Za filmsko vzgojo je prav zaradi tega filmske vzgoje. najbolj pomembna ponudba filmov. Smotrna odmera različnih stilov navaja V animiranih filmih, ki so bili namenjeni na sprejemanje različnosti v umetno- otrokom, je avtorjem uspelo prebiti za- sti in posredno tudi v življenju, neguje prti krog prikazovanja variacij zasnove, strpen odnos do različnih vsebinskih ki je negovala oponašanje obstoječega in oblikovnih avtorskih konceptov ter živega sveta. Ustvarjalci so vse bolj opu- razbremenjuje gledalca privzgojenih ščali uveljavljene tematske in oblikovne stereotipov. Omogoča individualno stereotipe. Gledalec, navajen na enolič- vživetje v ponujeno. Zahteva čutno, ču- nost, se je tako znašel pred filmom, ki stveno in miselno aktivnost. V bistvu je je zahteval drugačen pristop in zato tudi ta postopek prizadevanje za gledalca, ki večjo aktivnost. Prisiljen je bil priklicati naj bi bil pri sprejemanju posredova- na pomoč domišljijo. Otrokom je to bo- nih idej in modelov kritično naravnan, lje uspelo kot odraslim. Neobremenjeno ki naj ne bi nasedal manipulacijam in so se odzvali neznanemu in drugačnemu, ki naj bi razumsko obvladoval vsajene, medtem ko je večina odraslih (starši, uči- uveljavljene predsodke. Te možnosti je telji, upravniki kinematografov) težko ponujal animirani film. Izkušnja filmske sprejemala različnost, v kateri je postalo vzgoje, pridobljena ob animiranem fil- mogoče prav vse. Soočenje z neznanim mu, se potem uveljavlja pri sprejemanju je zahtevalo sprotno opredeljevanje do in obravnavi kratkih ali celovečernih gledanega. Potrebno je bilo vzpostaviti dokumentarnih in igranih filmov. odnos do prikazovanega, neznanega - do zgodb brez besed, podob in gibanja, ozi- Če igrani in dokumentarni film nepo- roma do zgodb, ki niso posnemale resnič- sredno snemata dogajanje pred kamero, nosti. Mladi gledalec je bil tako prisiljen animirani film oživlja s pomočjo filmske začeti ustvarjati svoj vrednostni sistem, tehnike risbo, lutko in vse mogoče pred- 15 Mirjana Borčić employs cinematic technique to ani- ability to evaluate, indirectly influ- mate drawings, puppets and all sorts of encing and developing the young objects. Thus in animation everything persons’ attitude toward life. The ani- is fictional – not only the story, but the mated film voluntarily embraces this characters, space and movement as well. educational imperative. The viewers, With the help of technique, an entirely especially young viewers, use their new world, a new artistic reality is being imagination to follow the on-screen created. It is independent, rich in style action of a film in which everything is and varied in content. The sphere of made up. They perceive it in their own imagination - be it that of the author or ways and rank it according to their in- the viewer - is limitless, the impossible dividual value systems. Whatever the- becomes possible. In this lies the magic se may be. and attraction of animated films. In this lies their educational significance. The ability to evaluate is, however, not an inherent quality. A child’s upbrin- The nature of the cinematic experien- ging and education are what enables ce itself depends on the openness for him to consciously evaluate, observe the authors’ different personal appro- and incorporate a film. And in this aches. This is why in the educational educational process no one holds the process we foster first and foremost a right to impose their own interpretati- sensitivity in the reception of an art ons of film and by extension their own work, and develop – not dictate – an outlooks on life itself.

Mirjana Borčić, born in Ljubljana in 1925, attended her primary and secondary education in Ljubljana. She graduated from Slavonic Studies at the Zagreb Faculty of Arts. She has dedicated her professional life to film education, as editor of film publications at Prosvetni servis Ljubljana, head of the film education department at Pionirski dom in Ljubljana (the development and research into the forms and methods of film education, the education and training of film education workers), and as editor of film related publications at The Workers’ Correspondence University of Ljubljana (DDU / Dopisna delavska univerza v Ljubljani). In addition to numerous texts on specific approaches and methods in film education, Mirjana Borčić is also the author of the book Film Education in Slovenia, recol- lections and testimonies 1955 - 1980 (Filmska vzgoja na Slovenskem, spominjanja in pričevanja 1955-1980), published in 2007 as part of the Premiera collection.

16 Mirjana Borčić mete. V animiranem filmu je tako vse nemu imperativu. Gledalec, posebno izmišljeno – poleg zgodbe tudi figure, mlad, s pomočjo svoje domišljije spre- prostor, način gibanja. Po zaslugi teh- mlja dogajanje v filmu, v katerem je vse nike nastaja nov svet, nova umetniška izmišljeno. Dojame ga na svoj način in resničnost. Je neodvisen, stilno bogat ga uvrsti v svoj vrednostni sistem, ka- in vsebinsko razgiban. Polje domišljije, kršen koli že je. bodisi ustvarjalca bodisi gledalca, je ne- omejeno, nemogoče postane mogoče. V Sposobnost vrednotenja otroku ni tem sta njegov čar in privlačnost. V tem dana sama od sebe. Vzgoja je tista, ki je tudi njegov vzgojni pomen. posamezniku odpira vrata v zavestno sprejemanje filma. V vzgojnem procesu Od sproščenega odnosa do različnih pa nima nihče pravice vsiljevati svojega avtorskih konceptov je odvisno tudi tolmačenja filma, posredno tudi svojih filmsko doživetje. Zato v vzgojnem življenjskih resnic. procesu negujemo predvsem občutlji- vost za sprejemanje umetniškega dela ter razvijamo - ne narekujemo - sposobnost vrednotenja, posredno tudi odnos mladih do življenja. Animirani film na široko odpira vrata temu vzgoj-

MIRJANA BORČIĆ, rojena 1925 v Ljubljani, je osnovno in srednjo šolo obiskovala v Ljubljani. Diplomirala je na slavistiki na Filozofski fakulteti v Zagrebu. Profesionalno je svoje življenje posvetila filmski vzgoji, in sicer kot urednica filmskih publikacij pri Prosvetnem servisu v Ljubljani, kot vodja oddelka za filmsko vzgojo Pionirskega doma v Ljubljani (razvijanje in proučevanje oblik in metod filmske vzgoje, izobraževanje filmsko-vzgojnih delavcev) in kot urednica za film pri založbi DDU / Dopisne delavske univerze v Ljubljani. Poleg številnih tekstov o konkretnih pristopih in metodah v filmski vzgoji je Mirjana Borčić tudi avtorica učbenika za srednje šole Osnove filmske umetnosti (Mladinska knjiga, 1981 in ponatisi) ter knjige Filmska vzgoja na Slovenskem, spominjanja in pričevanja 1955–1980 (zbirka Premiera, 2007).

17 Domen Rupnik

The Advent of Animation

The purpose of this text is not to pro- lity. The latter consist of objects and be- vide a description of the development ings, belonging to our known reality, as of animation, but to shed light on the well as new generations of objects and activities taking place in the field of beings, such as clones, avatars, cyborgs animation in relation to numerous and virtual agents, software entities, be- other spheres, especially the Internet. longing to the world of the bio-artificial The omnipresence of the Internet as an as that which is in a sense anti-natural expanded communicational and social and unnatural.” [1] environment strongly impacts not only the modification of our general phe- The fact that easy to use open-source nomenology, but also our perception animation tools, ranging from 3D to of the moving image. The latter increa- stop motion, are so readily accessible singly pervades our contemporaneity: brought about a massive interest in animated websites, hipertextuality, ani- animation, especially among the youn- mated smiley faces, animated avatars, ger generations. But even before them, TV commercials, mobile phone anima- it was the marketing strategists of giant tion, web banners… And by contem- corporations which grabbed up the poraneity we also mean reality “in the animation media, daily bombarding modus of mediatization, that is, in the our environments with moving ima- way it is influenced by the (new) media. ge making. The Internet environment This has fundamentally determined our will absorb any code, no matter how comprehension and understanding of horrifying, shocking, deceitful or de- time, space, matter, objects and the in- trimental information it contains. And dividual. However, it has also brought the same goes for television. Shocking forth a development of an increased moving images, reflected from all sorts and accelerated perception, made pos- of screens, play the part of media fasci- sible by mediations, which has become nation, the spectacle. “Where the real a necessity in light of this expanded rea- world changes into simple images, the

18 Domen Rupnik

Razmah animacije

Namen sestavka ni opisovati razvoj bio-umetnega kot v določenem smislu animacije in animiranega filma, tem- protinaravnega in nenaravnega.” [1] več opozoriti na aktivnosti, ki se doga- jajo na področju animacije v relaciji z Preprosta odprtokodna orodja za iz- najrazličnejšimi področji, predvsem z delavo vseh vrst animacij, od 3D do medmrežjem. Vseprisotnost interneta stop-motion-a, so zlahka dostopna, kot razširjenega komunikacijskega in kar je povzročilo vsesplošno zanimanje socialnega okolja namreč močno vpliva za animacijo, predvsem med mladimi. ne samo na modifikacijo fenomenolo- Še pred mladimi pa je medij animaci- gije nasploh, ampak tudi na percepcijo je zgrabila marketinška strategija veli- gibljive podobe. Ta je vse bolj prisotna kih korporacij, ki dnevno bombardira v naši sedanjosti: animirani spletni teks- naša okolja z gibljivim podobotvorjem. ti, hipertekstualnost, animirani smeški, Spletno okolje vsrka vsakršno kodo, naj animirani avatarji, televizijski oglasi, prikazuje še tako grozljive, šokantne, mobilna animacija, spletni bannerji … lažnive ali škodljive informacije, tega se s sedanjostjo mislimo tudi na resnič- poslužuje tudi televizijski ekran. Giblji- nost “v modusu mediatizacije, torej ve šokantne podobe, ki sijejo iz ekranov prek vplivov (novih) medijev nanjo, kar vseh vrst, igrajo vlogo medijske fascina- je bistveno opredelilo naše pojmovanje časa, prostora, snovi, predmetov in po- sameznika, prav tako pa smo tudi pri- če oblikovanju povečane in pospešene zaznave, omogočene z vmesniki, ki jo zahteva povečana resničnost. V slednjo sodijo tako predmeti in bitja iz resnič- nosti, kot jo poznamo, kot tudi predmeti in bitja novih generacij, kot so kloni, avatarji, kiborgi in virtualni agenti kot programske entitete, značilne za svet Otroška animacija / Children's animation

19 Domen Rupnik simple images become real beings and The meaning and purpose of creating effective motivations of hypnotic be- in the medium of animation havior. The spectacle, as a tendency to make one see the world by means of va- Animation is that particular field whi- rious specialized mediations (it can no ch encompasses all the fine arts stated longer be grasped directly), naturally in the Art Education Curriculum for finds vision to be the privileged human primary schools in Slovenia: drawing, sense which the sense of touch was for painting, graphic arts, sculpture and other epochs.” [2] spatial design. The span of possible in- terconnections is limitless: music, tech- This is the reason for alarm or rather the nical education, mathematics, language, argument for a prompt introduction of physics, biology, media studies… It is therefore a discipline, which is contem- media studies into educational institu- porary for its interdisciplinary character, tions such as the primary school. Only connecting various fields and enabling through practical, experience-based an integral understanding and percepti- learning and the use of media tools can on of the world. young people discover the magical (in) accessibility of media-created images. References Through this they may learn to recognize the manipulative and the creati- [1] Strehovec, J. (2003). Umetnost interneta, p. 148. Zbirka Koda, Študentska založba. ve possibilities of a particular medium, [2] Debord, G. (1999). Družba spektakla. which they can then relate to the ima- Komentarji k družbi spektakla, p. 18. ges of their idols. Zbirka Koda, Študentska založba.

domen rupnik, is a visual artist and graphic designer, involved in conceptual, site-specific, new media connected art and socially engaged actions. He is also active in the pedagogical field. He co-organizes the nanagiriti.si Festival of Contemporary Art. He is currently researching expanded corporeality in parallel reality as part of his postgraduate studies at the Academy of Fine Arts and Design in Lju- bljana. Domen lives and works in Maribor.

Contact: [email protected], www.rupnik.net/blog

20 Domen Rupnik cije, spektakla. „Kjer se stvarni svet spre- Pomen in smisel ustvarjanja v meni v preproste podobe, se preproste mediju animacije podobe spremenijo v stvarna bitja in s svojim hipnotičnim učinkom vplivajo Animacija je tisto področje, ki pokri- na tiste, ki jih gledajo. Spektakel teži k va in povezuje vsa likovna področja, temu, da nam pokaže svet, do katerega opredeljena v Učnem načrtu za likovno več nimamo neposrednega dostopa, vzgojo v osnovni šoli: risbo, slikarstvo, skozi različne specializirane posrednike. grafiko, kiparstvo, prostorsko oblikova- Zato je razumljivo, da tip, ki so mu prej- nje. Širok je diapazon medpredmetnega šnja obdobja dajala prednost pred vse- povezovanja in sicer z glasbo, s tehniko, mi drugimi čuti, izgubi privilegij in da matematiko, slovenščino, fiziko, biolo- vid s svojim načinom percepcije dobi v gijo, medijsko vzgojo … Gre torej za spektaklu izjemen pomen.” [2] disciplino, ki je sodobna v tem smislu, da je interdisciplinarna, področja pove- To je razlog za bojazen oz. argument zuje in omogoča celostno razumevanje za pospeševanje vključevanja medijske in dojemanje sveta. vzgoje v vzgojno-izobraževalne institucije, kot je osnovna šola. Mladim se šele skozi izkustveno učenje in delo z Viri medijskimi orodji razkrije magična (ne) [1] Strehovec, J. (2003). Umetnost interneta, dostopnost medijske podobe. Tako str. 148. Zbirka Koda, Študentska založba. spoznajo manipulativne in ustvarjalne [2] Debord, G. (1999). Družba spektakla. možnosti medija, kar pa lahko povežejo Komentarji k družbi spektakla, str. 18. tudi s podobo njihovih idolov. Zbirka Koda, Študentska založba.

domen rupnik, je vizualni umetnik in grafični oblikovalec. Zanima ga konceptualna, prostorsko vpeta, z novimi mediji povezana umetnost in angažirane akcije. Deluje tudi na pedagoškem področju. Soorgani- zira festival sodobne umetnosti nanagiriti.si. Trenutno raziskuje razširjeno telesnost v vzporednih svetovih na podiplomskem študiju Video in novi mediji na Akademiji za likovno umetnost in oblikovanje v Ljubljani. Živi in dela v Mariboru.

Kontakt: [email protected], www.rupnik.net/blog

21 Marina Estela Graça Creative Animation Methodologies With Children: State of the Research.

The recent technological revolution has operate with languages and technologi- brought about changes in the econo- es that involve the integrated use of text, mic model [1] necessitating the urgent 2 and 3-dimensional images, audio and training of creative professionals. Thus, video, achieved with different forms of the development of creativity should processing and formats, distributed and be included in the core curriculum of consumed interactively via a communi- schools as recommended in the conclu- cation network composed of a multipli- sions of the report prepared for the Bri- city of convergent platforms. Although tish government by a team led by Ken traditionally defined as the ability to Robinson [2]. read and write, literacy has to be understood as the ability to locate, evaluate In addition, according to another docu- and communicate using a spectrum of ment published recently by the Europe- media including text, visual, audio and an Commission [3], in practice and in video resources. the short term, both in our private lives and at work we will be called upon to As a result, there is an urgent need to introduce these languages and technologies into the classroom and to do so by means of practices that stimulate creativity and which are rooted in methodo- logical, scientific and communicational rigour. It is necessary that children should learn to describe and structure what they observe using correct, efficient and motivating methods, and to use that knowledge as the foundation of their TWA capacity to imagine and create. 22 Marina Estela Graça Ustvarjalne animacijske metodologije za delo z otroki: raziskovalna faza

Nedavna tehnološka revolucija je v eko- s pomočjo medijskega spektra, ki vklju- nomski model vnesla spremembe [1], čuje tako tekst kot tudi vizualne, zvočne ki zahtevajo takojšnje (pre)izobraževa- in video vire. nje profesionalnih ustvarjalcev. Razvija- nje ustvarjalnosti bi zato moralo postati Posledica tega je pereča in takojšnja po- del osnovnega učnega načrta šol, kot to treba po vpeljavi teh jezikov in tehnolo- predpostavljajo sklepi poročila, ki ga je gij v šolske učilnice. Le-to je potrebno za britansko vlado pripravila skupina izpeljati s pomočjo vaj in postopkov, ki pod vodstvom Kena Robinsona [2]. spodbujajo kreativnost, utemeljeni pa so na metodološki, znanstveni in komu- Poleg tega bomo po mnenju druge listi- nikacijski eksaktnosti. Otroci se namreč ne, ki jo je pred kratkim objavila Evrop- morajo naučiti opisovati in strukturirati ska komisija [3], v praksi in v kratkem, opazovano z uporabo pravilnih, učinko- in sicer tako v zasebnem življenju kot na vitih in motivacijskih metod ter upora- delovnem mestu, dolžni upravljati z je- bljati to znanje kot temelj in podlago za ziki in tehnologijami, ki se interaktivno razvijanje svoje predstavnosti, domišlji- poslužujejo besedila, dvo- in tridimen- je in ustvarjalnosti. zionalnih podob, avdio in video zapisov, ustvarjenih s pomočjo različnih oblik Prepričana sem, da izvajanje izobra- obdelave in v različnih formatih, katerih ževalnih projektov, ki se poslužujejo distribucija in potrošnja potekata inte- animacijskih tehnik, ustvarja temelje raktivno prek komunikacijskega omrež- za razvoj ustvarjalnosti in pismenosti ja, ki ga tvori mnoštvo stekajočih se plat- v pričakovanju in pripravi na bližajočo form. Čeprav pismenost tradicionalno se skrajno medijskocentrično družbo razlagamo kot znanje branja in pisanja, ter v skladu s priporočili in cilji Evrop- jo je potrebno razumeti kot sposobnost ske unije [4]. Ti projekti omogočajo in lociranja, vrednotenja in komuniciranja spodbujajo pedagoški proces, ki je hkra- 23 Marina Estela Graça

The author of this paper is convinced Europe, Asia and Africa (with whom that the use of learning projects emplo- the author has previously worked). ying animation techniques lays the fo- undations for the development of crea- Surprisingly, the number of scientific tivity and literacy in anticipation of the publications is insignificant. approaching, highly media-centric society and in line with European Union In Portugal, research has been conduc- recommendations and objectives [4]. ted into the teaching of Animation to It facilitates a pedagogical process that children which resulted in Master’s de- is simultaneously specific and inclusive, gree theses in Multimedia Communica- and founded in the digital universe. tion and Education [5] [6]. These were proposed in the context of the integra- Testing and repeating positive experi- tion of Information and Communicati- ences obtained the best-known anima- on Technologies in the teaching of the tion methodologies for co-ordinating construction of illusion of movement in experiences in the creation of animated line with the compulsory programme images by children. Those who employ for the Visual and Technological Edu- them are animators. They usually enga- cation discipline in the 2nd cycle of Ba- ge in this kind of activity along with the sic Education (upper years of Primary production of their own auteur short Education). films. Their pedagogical activities have become known through the presentati- Digital technologies enable each child on of their results at international film to learn through self-directed involve- festivals. ment in the creative process i.e. the process of “producing work that is at the This is the case with certain remar- same time new (i.e. original, unpredic- kable Portuguese artists: Abi Feijó ted) and appropriate (i.e. useful, adap- (both personally and as a member of table in the context of the given limita- ASIFA, International Animated Film tions)” [7]. It is therefore not necessary Association), Fernando Saraiva (ANI- to have computer applications designed LUPA), Zepe (José Pedro Cavalheiro, specifically for addressing the content CIEAM/FBAUL); or foreign artists: and areas of exploration defined in the Wilson Lazzareti in Brazil’s favelas and curriculum programmes and which, Amazon forest and Jean-Luck Slock in accordingly, require constant updating. 24 Marina Estela Graça

TWA ti specifičen in vseobsegajoč, korenini dnega združenja animiranega filma), pa v digitalnem univerzumu. Fernando Saraiva (ANILUPA) in Zepe (José Pedro Cavalheiro, CIEAM/ Testiranje in ponavljanje pozitivnih FBAUL), ter druge mednarodne ume- izkustev je porodilo najbolj znane ani- tnike, kot sta: Wilson Lazzareti v brazil- macijske tehnologije za koordinacijo skih favelah in amazonskih gozdovih ter izkustev otrok pri ustvarjanju animira- Jean-Luck Slock, delujoč v Evropi, Aziji nih podob. Te metodologije uporablja- in Afriki (avtor, s katerim sem sodelova- jo animatorji. Ponavadi se lotevajo te la v preteklosti). dejavnosti ob ustvarjanju svojih lastnih amaterskih kratkih filmov, svoje peda- Presenetljivo pa je, da znanstvene obja- goške dejavnosti pa širijo s pomočjo ve skoraj ne obstajajo. predstavitev rezultatov na mednarodnih filmskih festivalih. O učnih programih animacije za otroke so bile na Portugalskem opravljene To velja tudi za nekatere izjemne por- raziskave, ki so izšle v obliki magistr- tugalske umetnike, kot so: Abi Feijó skih nalog na področju multimedijske (osebno in kot član ASIFE, Mednaro- komunikacije in izobraževanja [5] [6]. 25 Marina Estela Graça

TWA

We are confident that it is more impor- tempt to systematise the methodologies tant for children to be encouraged to that inform experiences in the creation discover and learn to use the computer of animated images by children. It is ba- tools and equipment that they need to sed on a set of tried and tested strategies complete their projects. incorporated in an overall model of animated cinematic communication. This It was with the objective of supporting model corresponds to a mix derived, on teachers who stand for the child’s auto- the one hand, from the poetics of auteur nomy in the learning process that the re- animated shorts promoted at festivals search project Teaching with Animation such as Annecy (France) following the (TWA)[8] was conducted. The results foundation in 1961 of the (ASIFA), and of this research were published in Sep- on the other hand, from the method of tember 2007 in the form of an interacti- structuring cinematic production and ve guide at www.animwork.dk/twa. film discourse known as the ‘Holly- wood Continuity Editing System’. The model resulting from the TWA project is the sole know international at- Unfortunately, the methodology resul- 26 Marina Estela Graça

Teze so predlagali v kontekstu integra- odkrivanju in učenju uporabe računal- cije informacijskih in komunikacijskih niških orodij in opreme, ki jih potrebu- tehnologij znotraj poučevanja ustvarja- jejo pri izpeljavi svojih projektov. nja iluzije gibanja v skladu z obveznim učnim načrtom predmeta Vizualna in Raziskovalni projekt Učenje z anima- tehnološka vzgoja, namenjenega dru- cijo (Teaching with Animation, TWA) gemu ciklusu osnovne izobrazbe (višji [8] je potekal s ciljem zagotoviti pomoč razredi osnovne šole). učiteljem, ki zagovarjajo in zastopajo otrokovo avtonomijo znotraj učnega Digitalne tehnologije usposabljajo procesa. Rezultati raziskave so bili obja- otroka za učenje na osnovi samostojne vljeni septembra 2007 v obliki interak- udeležbe v ustvarjalnem procesu, to je tivnega vodiča na spletni strani www. procesu “ustvarjanja dela, ki je hkrati animwork.dk/twa. novo (t.j. izvirno, nenapovedano) in pri- merno (t.j. uporabno v kontekstu danih Model, ki se je izoblikoval na podlagi omejitev)”[7]. Računalniške aplikacije, projekta TWA, predstavlja edini znani mednarodni poskus sistematizacije metodologij, ki raziskujejo in definirajo izkustva otrok ob ustvarjanju animiranih podob. Osnovan je na nizu preizku- šenih strategij, vključenih v širši model animirane filmske komunikacije. Ta model ustreza mešanici, ki po eni strani izhaja iz poetike amaterskih animiranih kratkih filmov, kakršni se od ustanovi- tve ASIFE leta 1961 predstavljajo na TWA festivalih, kot je Annecy (Francija), po drugi strani pa iz metode strukturiranja ki bi bile ustvarjene izrecno za potrebe filmske produkcije in filmskega diskur- raziskovalnih vsebin in področij, kot jih za, znane pod imenom Hollywoodski določajo učni načrti in bi potemtakem kontinuitetni sistem montaže (Holly- zahtevale nenehno posodabljanje, torej wood Continuity Editing System). niso potrebne. Prepričani smo, da je veliko pomembneje spodbujati otroke k Na žalost pa sicer izjemna metodologi- 27 Marina Estela Graça ting from the TWA project, although References exceptional, was not completed for lack [1] Howkins, J. (2001). The Creative Economy: How of time and resources. It was not pos- People Make Money from Ideas. Penguin Books. [2] All our Futures: Creativity, Culture and Educa- sible to consider the set of principles tion, NACCCE report, May 1999, United Kingdom. proposed by Norman McLaren [9], the [3] Networked Media of the Future, European methods of discourse derived from Vi- Communities, October 2007, Brussels. [4] Recommendation of the European Parliament sual Communication and that compo- and of the Council of 18 December 2006, On key sition methodology suggested by Music competences for lifelong learning, (2006/962/ as a method of structuring duration. It EC), OJ L 394, 30.12.2006. would be legitimate to associate with [5] Nogueira, S. (2003). Animatrope – Máquina Virtual de Animação - Contributo Conceptual para these yet further hypotheses offered by uma Aplicação Didáctica Multimédia. Master’s the new production functionalities faci- degree dissertation supervised by Professor Va- litated by digital technologies. sco Afonso da Silva Branco, University of Porto, Faculty of Engineering. [6] Braga Rodrigues, J. A. (2005). Brinquedos Óp- Given the opportunity presented by ticos e Animatrope em contexto de EVT – Estudo these animation methodologies in the de casos sobre a aprendizagem da imagem em movimento no 2º CEB. Master’s degree disserta- context of the teaching/learning pro- tion supervised by Professor António Augusto de cesses required in a society wishing to Freitas Gonçalves Moreira, University of Aveiro. promote knowledge and creativity, it [7] Sternberg, R. J., & Lubart, T. I. (2007). “The is becoming urgent to observe, classify Concept of Creativity: Prospects and Paradigms”. In Sternberg, R. J. (Ed.), Handbook of Creativity and systematise the various experiences (pp. 3-15). Cambridge University Press. in terms of the construction of a funda- [8] Pedersen, H. (CVU Midt-Vest), Gjedde, L. (Dani- mental methodology model (set of stra- sh University of Education), Feijó, A., Graça, M. E. (Ciclope Filmes Lda); Rand, M. (Kinobuss), John- tegies and principles) that is sufficiently son, A. (University of the West of England), Pana- flexible to be capable of being adapted des, M. (9 Zeros-Centro de Estudios de Técnicas to the specific situation of the group de Animación de Catalunya) (2007). Teaching with Animation, . of children with whom it is planned to [9] McLaren, N., Animated Motion No.1 (1976), work. There is, therefore, much scienti- No.2 (1977), No.3 (1977), No.4 (1977), No.5 fic work still to be done. (1978). National Film Board of Canada.

Marina Estela Graça, University of the Algarve, Portugal [email protected]

28 Marina Estela Graça ja, ki jo je začrtal projekt TWA, zaradi Viri pomanjkanja časa in sredstev ni bila [1] Howkins, J. (2001). The Creative Economy: How dokončana. V raziskavo ni bilo mogoče People Make Money from Ideas. Penguin Books. [2] All our Futures: Creativity, Culture and Edu- vključiti načel, ki jih je predlagal Nor- cation, poročilo NACCCE, maj 1999, Združeno man McLaren [9], diskurzivnih metod, kraljestvo. [3] Networked Media of the Future, Evropske ki izhajajo iz področja vizualne komuni- skupnosti, oktober 2007, Bruselj. kacije in kompozicijske metodologije, [4] Priporočilo Evropskega parlamenta in Sveta ki jo kot metodo strukturiranja trajanja z dne 18. decembra 2006, O ključnih kompeten- cah za vseživljenjsko učenje (2006/962/EC), UL L predpostavlja glasba. Legitimno pa bi 394, 30.12.2006. bilo z zgornjimi hipotezami povezati še [5] Nogueira, S. (2003). Animatrope – Máquina Virtual de Animação - Contributo Conceptual para nadaljnje hipoteze, ki jih ponujajo nove uma Aplicação Didáctica Multimédia. Magistrska produkcijske funkcionalnosti, izhajajo- naloga, mentor prof. Vasco Afonso da Silva Bran- če iz sodobnih digitalnih tehnologij. co, Univerza v Portu, Fakulteta za inženiring. [6] Braga Rodrigues, J. A. (2005). Brinquedos Óp- ticos e Animatrope em contexto de EVT – Estudo Glede na priložnosti, ki jih ponuja- de casos sobre a aprendizagem da imagem em movimento no 2º CEB. Magistrska naloga, men- jo opisane animacijske metodologije tor prof. António Augusto de Freitas Gonçalves v kontekstu izobraževalnega procesa, Moreira, Univerza v Aveiru. kakršen pritiče družbi, ki želi spodbu- [7] Sternberg, R. J., & Lubart, T. I. (2007). “The Concept of Creativity: Prospects and Paradigms”. jati znanje in ustvarjalnost, postajajo In Sternberg, R. J. (Ur.), Handbook of Creativity ključne naloge opazovanje, klasifikacija (str. 3–15). Cambridge University Press. [8] Pedersen, H. (CVU Midt-Vest), Gjedde, L. (Dani- in sistematizacija raznolikih izkustev v sh University of Education), Feijó, A., Graça, M. E. smislu izdelave temeljnega metodolo- (Ciclope Filmes Lda); Rand, M. (Kinobuss), John- škega modela (niza strategij in načel), ki son, A. (University of the West of England), Pana- des, M. (9 Zeros-Centro de Estudios de Técnicas je dovolj fleksibilen, da ga lahko prilaga- de Animación de Catalunya) (2007). Teaching jamo specifični situaciji v skupini otrok, with Animation, . s katero nameravamo delati. Čaka nas [9] McLaren, N., Animated Motion Št. 1 (1976), Št. 2 (1977), Št. 3 (1977), Št. 4 (1977), Št. 5 (1978). torej še veliko znanstvenega dela. National Film Board of Canada.

Marina Estela Graça, Univerza v Algarveu, Portugalska [email protected]

29 Borko Radešček Animation Film as Part of a Broader Film Education for Children with Special Needs

Professional work and personal curio- I worked. We created a genuine theatre, sity have often brought me in contact with 77 seats, a 2.5 by 6 metres screen, with people who in one way or another and blue carpeting for the sake of acou- depart from the average. These were ei- stics. A blue velvet curtain hung before ther groups of individuals with above the screen. The projectionist’s booth was average intelligence, or groups of men- equipped with projectors supporting tally disabled, those with behavioural all formats (a unique case in Slovenia). difficulties, or those neglected. I will The sound system enabled a simultane- draw my conclusions from specific and ous screening of films. In short, we had actual experiences gathered in my many a theatre, which allowed for a genuine years of practice. I will focus my reflec- cinematic experience. Making the film tion mainly on my professional sphere selection was also not difficult. We had of work in education for children with a wonderful cooperation with the Yugo- special needs. slav Cinematheque, collaborated with the Škuc film programme, and even my What steered me toward introducing film personal film archive was not to be sne- into the educational process was my con- ezed at. So, we had films which allowed viction that film is the only cultural form for a quality film education. accessible to a child with special needs, that it is also the only cultural form whi- The school cinema operated for 15 ye- ch this child is bound to encounter also ars. The attendance was excellent, often as an adult, and more, that it is that form exceeding the number of seats. The chil- of culture through which he will enrich dren took the cinema as their own. The his life, and which will become part of theatre saw a number of real cinematic his everyday experience. Therefore, as a events. The halls resounded with chil- cultural form the film will have a great dren whistling the tunes from Dušan impact on the quality of his life. Vukotić’s Surrogate (Surogat), which So we set up a cinema at the school where they saw so many times as a short before 30 Borko Radešček Animirani film kot del širše filmske vzgoje otrok s posebnimi potrebami

Poklicno delo in življenjska radove- ustanovili šolski kino. V šoli smo si dnost sta me pogosto vodila med skupi- uredili pravo kinodvorano. Imela je 77 ne ljudi, ki so tako ali drugače odstopali sedežev, platno velikosti 2,5 x 6 m, za- od povprečja, bodisi da so bile to sku- radi akustike pa je bila oblečena v mo- pine nadpovprečno nadarjenih, bodisi der tapison. Projekcijsko platno je bilo duševno bolnih, vedenjsko motenih zagrnjeno z modro žametno zaveso. ali zapostavljenih. Moja razmišljanja Projekcijska kabina je bila opremljena temeljijo predvsem na konkretnih in s projektorji vseh formatov (edina ta- dejanskih izkušnjah dolgoletne prakse. kšna dvorana v Sloveniji). Ozvočenje je Usmerjena pa so na področje mojega omogočalo simultano prevajanje filmov. poklicnega delovanja v vzgoji in izobra- Skratka, imeli smo dvorano, ki je omo- ževanju otrok s posebnimi potrebami (v gočala pravo filmsko doživetje. Izbor nadaljevanju “naš otrok”). filmov ni bil problematičen. Lepo smo sodelovali z Jugoslovansko kinoteko, Osnovno vodilo ob uvajanju filma v sodelovali smo s filmskim programom učno-vzgojni proces je bilo prav prepri- Škuca, pa tudi moj osebni filmski arhiv čanje, da je film edina oblika kulture, ki ni majhen. Imeli smo torej filme, ki so je dostopna našemu otroku. Prav film je omogočali kakovostno filmsko vzgojo. tudi edina oblika kulture, s katero se bo naš otrok srečeval tudi kot odrasel, ozi- Šolski kino je deloval 15 let. Obisk roma še več, z njo se bo plemenitil, saj predstav je bil zelo dober, ponavadi celo bo postala zanj del vsakdanjega življe- veliko večji, kot je prostor premogel se- nja. To pomeni, da bo kot oblika kulture dežev. Otroci so kino sprejeli za svoje- pomembno vplivala na kakovost njego- ga. V dvorani se je zvrstilo veliko pravih vega življenja. filmskih doživetij. Glasbo iz Vukotiče- vega “Surogata” so naši otroci požvižga- V šoli, kjer sem bil zaposlen, smo zato vali po šolskih hodnikih. Kljub temu, da 31 Borko Radešček the feature, but never got tired of it. And nema, they even invited them to come every year we also had some of those see the films. They brought them along truly cinematic occasions – experiences and integrated them into their special which last and whose intellectual and school. This time with pride and- wi aesthetic intensiveness inspire us to re- thout frustrations. It was a truly special flect and search for not one, but many, school back then. And as such, as spe- even conflicting answers. This is what cial, it was also accepted by their peers. triggers the mechanisms encouraging The frustrations were overcome. And creative curiosity, which leads not only more, these children - their friends from to the discovery of new things, but to their everyday environment – even joi- the so necessary retesting of the already ned our busy film activities in the ma- attested truths. king of children’s films.

I must stress of course that such a level An active film education programme of cinematic experiencing of the more must also include direct audiovisual complex film aesthetics was possible creation. A child’s cinematic creativi- only due to a long term intensive film ty is regarding the mode of expressi- education, which we then maintained. on closest to the creativity involved in But quite spontaneously these school drawing and painting, since it expresses screenings brought about an extremely itself through images. Photography, sta- positive integration with a population of tic or dynamic, is surely the expressive children from regular primary schools. medium of our time. Image and film This time in the opposite direction to can mediate information in a percepti- that which today’s planners of inclusion ble and comprehensive way. Film has and integration propose. all modes of expression at its disposal: the expressive, the impressive, the conc- The children who visited our speci- rete and the abstract. Film addresses us al school did not usually admit this to with its specific language which is more their neighbourhood peers because of a concrete and direct than any other form learned frustration. They usually gave a of expression. In film, beings and objec- name of another regular city school in- ts speak for themselves. The confronta- stead. But during the operation of our tion is therefore direct. The elementary cinema, they felt free to boast about this cinematic material – the image – is also new acquisition. Not only did their talk extremely representational since it al- to their “outside” friends about the ci- ways depicts a fragment of a reality. On

32 Borko Radešček so film pogosto videli kot predfilm, se ga bitvijo. Ne samo da so v svojem življenj- niso naveličali. Poleg tega pa se je vsa- skem okolju prijateljem pripovedovali o ko leto zvrstilo tudi nekaj tistih pravih tem kinu, ampak so svoje prijatelje tudi filmskih dogodkov – doživetij, ki trajajo povabili na obiske teh kinopredstav. Pri- in s svojo intelektualno ter estetsko na- peljali oziroma integrirali so jih v takra- petostjo silijo k razmišljanju in iskanju, tno posebno šolo, to pot brez frustracij, pripeljejo pa ne k enemu samemu, am- celo s ponosom. Ta šola je bila takrat pak celo k nasprotujočim si odgovorom. res posebna. Kot takšno, posebno, kot Tako se sprožijo mehanizmi spodbuja- nekaj več, so jo sprejeli tudi njihovi vr- nja ustvarjalne radovednosti. Ta pa pe- stniki. Frustracije so bile premagane. Še lje ne samo v odkrivanje novega, ampak več, ti otroci – njihovi prijatelji iz bival- tudi v prepotrebno preverjanje večkrat nega okolja – so se pridružili tudi naši potrjenih resnic. aktivni filmski dejavnosti pri snemanjih otroških filmov. Vsekakor moram poudariti, da je do ta- kšne stopnje filmskega doživetja zahtev- Aktivna filmska vzgoja vključuje tudi nejših filmskih estetik lahko prišlo zgolj neposredno avdiovizualno ustvarjanje. ob dalj časa trajajoči intenzivni filmski Otroška filmska ustvarjalnost je glede na vzgoji, ki smo jo takrat gojili. način izražanja najbližja likovni ustvarjalnosti, saj se izraža s sliko. Fotografija, Povsem spontano pa se je ob teh šolskih statična ali dinamična, je gotovo izrazni kinopredstavah zgodila še izrazito pozi- medij našega časa. Slika in film zmoreta tivna integracija s populacijo otrok, ki so informacijo posredovati na zaznaven in obiskovali redne osnovne šole. Tokrat v spoznaven način. Film razpolaga z vse- obratni smeri, kot jo snujejo novodobni mi možnostmi izpovedovanja: ekspre- načrtovalci inkluzij in integracij. sivnega, impresivnega, konkretnega in abstraktnega. Film nam govori s svojim Otroci, ki so obiskovali takratno poseb- specifičnim jezikom, ki je bolj konkre- no šolo, zaradi privzgojene frustracije ten in direkten kot katera koli druga svojim vrstnikom iz okolja niso pove- oblika sporočanja. V filmu govore bitja dali, na katero šolo hodijo. Ponavadi so in stvari same po sebi. Soočenje je torej si izmislili ime kakšne mestne osnovne neposredno. Osnovno filmsko gradivo šole. Toda v času delovanja našega šol- – slika je tudi izredno predstavna, saj skega kina so se radi postavili s to prido- nam vedno podaja drobec resničnosti. 33 Borko Radešček this level the form and content are in- Within the sphere of children’s film separable. Cinematic language is based creativity an especially important role on images/thoughts and as such it is belongs to animation film. This sort of exceptionally concrete and unambiguo- work involves a total form of the child’s us. The birth of cinematography meant creative play, physiologically arising not only the emergence of a new art from the child’s innate artistic attitudes. form, but the development of a capacity The elementary structural element of to understand and experience this art. It animation film is a single frame. During brought about a new kind of communi- the creative process frames are arranged cation. And it is this form of communi- one by one, slowly forming a film. This cation which is especially appropriate basic rule governs the camera work, di- as an educational method due to its par- rection, editing and sound editing. The ticular character. It should have a place extreme spectrum in animation spans in the basic compulsory education pro- from a single static frame to a cinema- cess, especially when it comes to a po- tographically articulated whole. This is pulation of children with disadvantages why animated films are regarding their in the sphere of intellectual or mental inner tectonics much more integral, functions. compact and homogenous cinematic works. The classical animation film is The elementary form of active filmma- actually a unique piece of handiwork. king is film or video camera work. This This applies to the sound component as activity represents an important train- well. Voice, noise and music attain their ing of the child’s observing abilities and full meaning only when completely inte- can be paralleled with direct visual com- grated into the moving video structure. munication with the environment. The In animation, scenes and situations do child registers and records the events not remain verbal, but rather the author taking place in his more or less known seeks a graphical solution. His possibi- surroundings. The communication sho- lities for a visual graphic transformati- uld be spontaneous and unrestrained. on are unlimited, ranging from entirely The interest to partake in the activity is pure forms, devoid of associations, to preliminarily established. The camera’s the most intricate symbols. angle will carefully guide the child’s attention toward a given situation, object Due to the described characteristics, or even detail, which will capture his in- the animation film is especially suitable terest at a specific moment. as an expression of personal childlike

34 Borko Radešček

Na tej ravni sta oblika in vsebina neraz- delu lahko govorimo o nekakšni “to- družljivi. Filmski jezik temelji na sliki – talni” obliki otrokove ustvarjalne igre. misli in je kot tak izredno konkreten in Fiziološko izhaja iz otrokove prirojene nedvoumen. Z rojstvom filma ni nastala likovnosti. Temeljni gradbeni element le nova oblika umetnosti, ampak se je animiranega filma je posamezna sličica. razvila tudi sposobnost to umetnost V procesu ustvarjanja nizamo sličico občutiti in dojeti. Nastala je nova vrsta za sličico in s tem gradimo film. Temu komunikacije. Prav ta oblika komunika- pravilu so podrejene tako kamera kot cije pa je zaradi svoje značilnosti pose- režija, montaža pa tudi zvočna kompo- bej primerna kot vzgojno-izobraževalna nenta filma. Ekstremni razpon v -ani metoda. Svoje mesto bi morala imeti v maciji vodi od posamične statične slike elementarnem vzgojno-izobraževalnem do kinematografsko artikulirane celote. procesu, še posebno pa pri populaciji Zato so animirani filmi po svoji notranji otrok s primanjkljajem na področju in- tektoniki veliko integralnejša, kompak- telektualnih in duševnih funkcij. tnejša in bolj homogena filmska dela. Klasični animirani film je pravzaprav Osnovna oblika aktivnega filmskega unikatno ročno delo. To velja tudi za dela je snemanje s filmsko ali video ka- zvočno komponento. Glas, šum in glas- mero. Ta dejavnost pomeni pomemben ba imajo polni smisel le takrat, ko so trening otrokovega opazovanja in jo povsem vgrajeni v videomobilno struk- lahko enačimo z direktno vizualno ko- turo. Situacije v animiranem filmu ne munikacijo z okoljem. Otrok v znanem ostajajo verbalne, raje iščemo grafične ali manj znanem okolju beleži dogajanje rešitve. Možnosti za vizualne grafične okrog sebe. Komunikacija naj bo čim transformacije so pri tem neomejene in bolj spontana in svobodna. Interes za se lahko gibljejo od povsem čistih oblik, to dejavnost je primarno navzoč. Zorni ki so osvobojene vsakršne asociacije, pa kot kamere bo natančno usmerjal otro- vse do simbolov. kovo pozornost k dani situaciji, objektu ali celo detajlu, ki bo v danem trenutku Zaradi omenjenih lastnosti je animira- pritegnil njegovo pozornost. ni film izjemno primeren za izražanje lastne otroške ustvarjalnosti. Otroci Znotraj filmske otroške ustvarjalnosti hkrati živijo v dveh velikih sferah spo- se kot posebej pomembno odlikuje po- znavanja – v svetu simbolov in v svetu dročje filmske animacije. Pri tovrstnem izkustva. Svet simbolov obvladujemo s 35 Borko Radešček creativity. Children live simultaneou- this process can be entirely free, devoid sly in two cognitive spheres: the world of all association. Movement can follow of symbols and the world of experien- a certain rhythm or not. There are se- ce. We learn how to master the world veral practical possibilities for making of symbols through classic upbringing such films. On blank transparent film and education. But it is that learning the artist can draw, colour or print. Raw based on experience which is the basic film can be processed by exposure to li- condition of cognition in the world of ght or chemicals. While black film can symbols. Human beings think both in also be scratched, the colour depending words and in images. The verbal – line- on the depth of the engraving. ar analytic – intelligence is only a small part of our intellectual spectrum. There- The next level of film animation is the fore, child rearing should first centre on pure form of drawn or sketchbook car- the child’s experience, and later on sym- toon with significantly reduced anima- bols. This allows children to strengthen tion. With this form the child creates their sensory functions in the physical, gradual movement, while being able to mental and aesthetic sense. A child is maintain constant control. Today this not yet able to understand what A, B approach is facilitated and made even and C mean. But he can see a yellow more accessible to children by compu- blossom. And even draw it. By crea- ters. The child is mentally involved and ting an animation the child may realize focused on the drawing of a single frame what he carries inside. Animation film or the frame itself. The animation pha- “relativizes” time. Strictly speaking, it ses simply follow from the last frame. gives time new dimensions. The phases between the two extremes are not me- Other animation techniques pertain to chanical, but rather specified rhythms direct animation in front of the camera, carrying their own meaning. the analytical phase becoming more abstract. However, computer technology The most elementary form of animati- again makes these forms of animation on requires neither the use of film ca- slightly more concrete, since it makes mera nor computer. The child can sha- possible an immediate and constant pe the filmstrip directly (by colouring, control over the concluded phases of drawing, chemical or light processing). animation. He can simply design it as an arabesque, a pattern. Graphical forms involved in An important quality of direct animati-

36 Borko Radešček tradicionalno vzgojo in učenjem. Ven- bo ali kemično. Na razviti črni filmski dar pa je prav učenje, ki temelji na izku- blank lahko tudi praskamo. Od globine stvu, prvi pogoj za spoznavanje v svetu praske je odvisna tudi barva. simbolov. Človek misli tako v slikah kot v besedah. Verbalna – linearna analitič- Naslednja stopnja filmske animacije je na inteligenca je le majhen del spektra čista oblika risanega filma blok sistema inteligence. Začetek vzgoje naj bil bil z močno reducirano animacijo. Pri tej zato osredotočen na otrokovo izkustvo, obliki otrok postopoma izvaja gibanje. v nadaljevanju pa na simbole. Tako lah- Ob tem pa mu je povsem omogočen ko otroci utrjujejo svoje čutne funkcije: tudi stalni nadzor. To obliko danes poe- fizično, duhovno in estetsko. Otrok še nostavljajo in s tem še bolje približujejo ne more razumeti, kaj so A, B in C. Lah- otrokom računalniki. Otrok je pri tem ko pa vidi rumen cvet. Lahko ga nariše. miselno vezan na risanje posamezne V animiranem filmu lahko uresniči to, risbe oziroma na risbo samo. Faze ani- kar nosi v sebi. Filmska animacija lah- macije enostavno izpeljuje iz prejšnje ko “relativizira” čas. Času pravzaprav risbe. da nove razsežnosti. Faze med dvema ekstremoma niso mehanične, ampak so Ostale tehnike animiranega filma so določeni ritmi, ki imajo svoj smisel. vezane na direktno animacijo pred kamero. Faza analize je s tem pomaknjena Najelementarnejša oblika animacije ne na abstraktnejše področje. Pojav raču- zahteva niti uporabe filmske kamere niti nalnikov pa tudi te oblike animacije pri- računalnika. Otrok direktno oblikuje bližuje konkretnejši sferi, saj je kontrola (barva, riše, oblikuje kemično, obliku- nad že narejenimi fazami možna takoj in je s pomočjo svetlobe ...) filmski trak. v vsakem trenutku. Preprosto ga oblikuje kot arabesko, kot vzorec. Grafične oblike so lahko pri tem Pomembna vrednost direktnega animi- povsem svobodne, nevezane na kakršne ranja je tudi v motorični angažiranosti koli asociacije. Gibanje je lahko podre- otroka pri takšnem delu. Animacija lut- jeno ritmu ali pa tudi ne. Praktičnih kovnega kolaž filma zahteva precizno možnosti za izdelavo takšnih filmov je premikanje likovnega kolaža ali pa film- veliko. Na prozorni filmski trak lahko ske lutke iz faze v fazo. To zahteva na- rišemo, barvamo, tiskamo. Na surovi tančno in dolgotrajno angažiranje fine filmski trak pa lahko vplivamo s svetlo- motorike rok. Napore, ki iz tega izhaja- 37 Borko Radešček on is also the engagement of the child’s extracurricular activities, which students motor skills. The animation of a puppet would sign up for and then attend a few collage requires a precise movement hours a week. Individual creative groups of the drawn/painted collage or the formed during individual film projects. puppet from phase to phase. This de- The latter were designed by individual mands an accurate and time-consuming students who selected or rather spon- engagement of fine manual motor skills. taneously formed also a group of mem- The strain involved in this work is com- bers, co-authors of the project. In addi- pensated by a high degree of motivati- tion to their schoolmates, the students on stemming from the desire to attain often included friends from their home a goal. Thus also children with motor environment into these circles. So for- disabilities can take part in this sort of med creative groups functioned until work, which positively affects the pro- the project was completed. At the same cess of correcting these disabilities. time there could be several creative film groups. Integration came about spon- In addition, this activity can develop taneously. The environment within the into creativity. Children enjoy expres- special school did not allow for negative sing themselves artistically. Animation stigmatization, rather the special charac- film equips a drawing with a new dimen- sion – movement, while film in general ter of the school was reflected in its spe- imbues the static image with dynamics. cial quality, which the regular schools of The child’s imagination becomes freer. our students’ friends did not offer. Thus a And the increased freedom of expres- positive perception of a different form of sion facilitates the communication of schooling evolved spontaneously among thought and ideas. the majority population. This attitude was not merely declared, but actual. The As I have mentioned, the friends of our children experienced and accomplished students spontaneously integrated into it. Along whit this, our students’ level of our creative film groups. I did not- or frustration was of course becoming inc- ganize these groups as a static form of reasingly lower.

borko radešček Elementary School OVI Jarše, Centre for Special Education Janez Levec KUD Cineast, www.ljudmila.org/kudcineast

38 Borko Radešček jo, kompenzira z visoko stopnjo motiva- stala ob posameznem filmskem pro- cije, ki izvira iz želje za dosego cilja. V jektu. Le-te pa so zasnovali posamezni takšno delo se zato uspešno vključuje- učenci. Vsak posameznik je izbral ozi- jo tudi motorično prizadeti otroci, kar roma največkrat spontano vključil tudi je smiselno s stališča korekcije njihove posamezne člane, soavtorje tega pro- prizadetosti. jekta, kamor je poleg svojih sošolcev pogosto vključeval tudi svoje prijatelje Ta aktivnost pa lahko preraste tudi v iz življenjskega okolja. Ta ustvarjalna ustvarjalnost. Otroci se radi likovno iz- skupina je delovala toliko časa, dokler ražajo. Animirani film dodaja risbi novo filmski projekt ni bil končan. Sočasno dimenzijo – gibanje, film pa statični sliki je tako lahko delovalo tudi več takšnih dinamičnost. Otroška domišljija postaja ustvarjalnih filmskih skupin. Do inte- svobodnejša. Z večjo svobodo izražanja gracije je prihajalo spontano. Okolje pa je olajšano tudi izpovedovanje. posebne šole ni bilo stigmativno v nega- tivnem smislu, ampak se je posebnost te Kot sem že omenil, so se v naše ustvar- šole odražala v posebni kvaliteti, ki jo re- jalne filmske skupine spontano integri- dna šola, kamor so hodili prijatelji naših rali tudi prijatelji naših učencev iz do- učencev, ni nudila. Tako se je v večinski mačega okolja. Ustvarjalnih otroških populaciji spontano izoblikoval pozitiv- filmskih skupin nisem organiziral kot ni odnos do drugačne oblike šolanja. Ta statično obliko interesnega šolskega odnos ni bil deklarativen, ampak dejan- krožka, kamor bi učenci po predhodni ski. Otroci so ga doživeli in uresničili. prijavi prihajali po nekaj ur tedensko. Hkrati s tem pa se je seveda zmanjševala Posamezna ustvarjalna skupina je na- tudi stopnja frustracij naših učencev.

borko radešček Osnovna šola OVI Jarše, Zavod za usposabljanje Janeza Levca KUD Cineast, www.ljudmila.org/kudcineast

39 Hana Repše

Animation Film / Animation as Part of Art Education Lessons

Animation film or animation itself fo- contrasting forms, colours etc. into the und its way into the primary schools’ photographs. They also execute a pro- compulsory curricula through the opti- ject using a particular medium on a se- onal school subject Fine Art Creativity lected topic. [1] III, under the last chapter on Visual Me- dia. Visual media was proposed as the At the Angel Besednjak Primary School sphere in which students would familia- in Maribor, we attempted to incorpora- rize themselves and learn how to expla- te animation into art education lessons in the different message types (motive, at the end of the school year of the 6th, audio, visual), analyze the medium as a 7th and 8th grade students. The reason means of message communication, di- for this was the fact that the making of scover photography as an independent medium of visual communication (as backgrounds and characters in anima- information about an event or a person, tion requires the knowledge of art the- a commercial photography, a visual de- ory, which the students have acquired piction of an idea – an art photography during the year, and an understanding (motif)), explain the characteristics of of technical properties of materials and visual messages regarding other types of tools (for example collage paper, pencil, messages (film – live action, documen- markers…). We created a short anima- tary, animated; TV, computer or video ted film without sound in 4 study peri- animation), analyze the effectiveness ods. Since the students from different of combining motive, audio and visual age groups all encountered the subject messages. Students thus create a pho- togram, photograph various motifs and for the first time, the content was pre- incorporate their own ideas, particular sented on the same level to all, while compositions and unique camera an- adjustments were made mostly when gles, emphasis on lightness or darkness, working with individual students. 40 Hana Repše

Animirani film / animacija pri pouku likovne vzgoje

Animirani film oz. animacija je v osnov- Animacijo smo na OŠ Angela Besednjaka ni šoli v rednih učnih načrtih našla pro- v Mariboru z učiteljem Mitjo Novakom stor pri izbirnem predmetu likovno sno- poskušali vključiti v ure likovne vzgoje vanje III v zadnjem poglavju – vizualni ob koncu šolskega leta v 6., 7. in 8. razre- mediji. Na področju vizualnih medijev naj bi učenci spoznali in pojasnili različ- nost sporočil (gibalno, zvočno, vidno), analizirali medij kot sredstvo za prena- šanje sporočila, spoznali fotografijo kot samostojno sredstvo vizualne komunikacije (informacija o dogodku, osebi, reklamna fotografija, likovna izvedba ideje - umetniška fotografija (motivi)), pojasnili značilnosti vidnih sporočil, ki so v povezavi z drugimi sporočili (film Otroška animacija / Children's animation - igrani, dokumentarni, animirani; TV, računalnik in video animacija), analizirali učinkovitost kombiniranja gi- du, saj so za izdelavo scene in karakterjev balnega, zvočnega, vidnega sporočila. potrebna znanja tako iz likovne teorije, ki Učenci lahko tako izdelajo senčno sliko so jih učenci usvojili skozi leto, kot tudi ali fotogram, fotografirajo različne mo- poznavanje tehničnih značilnosti materi- tive in vnašajo v posnetke lastne ideje, alov in orodij (npr. kolaž papir, svinčnik, posebnosti kompozicije in izvirnost v flumastri ...). Za izdelavo kratke animaci- prikazih planov, poudarkih svetlega in je brez zvoka smo potrebovali 4 ure. Ker temnega tona, kontrastnih oblik, barv ... so se učenci različnih starostnih skupin s ter izvedejo projekt s kakim medijem na snovjo srečali prvič, so se vsebine poda- izbrano temo. [1] jale na enaki ravni, prilagajali pa smo se 41 Hana Repše

1st Study Period: second of animation, and then for one Preliminary motivation: We engage stu- minute or an entire feature-length film. dents in a discussion about “cartoons”, By explaining and mimicking the moves since this is the most familiar term. I again illustrate the work in front of the What have they recently seen, what camera which we will get to later: move- they like watching the most and why, ment – shot – movement - shot… I can where they watch (TV, Cinema, Inter- ask them in the meantime, whether they net) – they describe the differences… know the difference between live acti- I mention the term animation film and on, documentary and animation (they encourage the students to consider the describe briefly). I explain that in- ad meaning and linguistic roots of both dition to technique animation film also expressions (while the cartoon involves requires the basic knowledge of direc- a concrete drawing technique, animati- ting. So, we also discuss sequence, shot, on is in a way a superordinate that inclu- shot size and timeline. The explanation des all forms of film and video animati- of technique can take up a bit more of on). I also explain the origin of the term. our time, about 10 minutes, since it is a Then I elaborate, describing different te- much more difficult subject. chniques and types of animation. Toge- ther with students we list the examples Explanation of the Work: I ask stu- which they know and understand as dents what are the parts of an animation being made with different techniques. film. We establish that these are: a story They know the majority of films from – that wishes to communicate a messa- television. The introductory discussion ge; an image – that depicts this story: lasts approximately 7 minutes. and sound – noises, dialogues. From this we conclude that they will make their Explanation of Technique: Together animations (which they will create in with students we discover the essence pairs with their schoolmates) following of animation using the example of opti- exactly this order. I write all three pha- cal toys, namely, flipbooks. We illustrate ses on the blackboard. this with drawings the students sometimes make on the edges of their note- Story – we take idioms, proverbs and books, with a Slovenian passport and so sayings chosen independently by each on… I ask them if they can figure out pair as our starting-point (these were: how many frames are needed for one to drop out of school, to beat about the 42 Hana Repše

igrač - flip booka, vse pa podkrepimo z risbicami, ki jih včasih sami rišejo na robove zvezkov, slovenskega potnega lista ... Vprašam jih, če lahko ugotovijo, koliko sličic je potrebnih za eno sekun- do animacije in koliko potemtakem za minuto in za celovečerni film. Z lastnimi gibi in ponovno razlago jim še enkrat pokažem kasnejše delo pred kamero: Otroška animacija / Children's animation premik - posnetek - premik - posnetek predvsem pri individualnem delu. ... Vmes jih vprašam, če poznajo razliko 1. ura: med igranim, dokumentarnim in ani- Uvodna motivacija: Z učenci se pogo- miranim filmom (na kratko opišejo). varjamo o “risankah”, ker je ta izraz njim Učencem povem, da je pri animiranem najbolj znan. Kaj so nazadnje gledali, filmu poleg tehnike pomembno poznati kaj in zakaj najraje gledajo, kje gledajo tudi osnove režije. Tako se pogovorimo (TV, kinodvorane, internet ...) - našteje- še o sekvenci, kadru, filmskem planu in jo razlike ... Omenim jim besedo animi- časovnici. Za razlago tehnike si lahko rani film in jih spodbujam k razmišlja- vzamemo več časa, približno 10 minut, nju o smislu in korenskih izvorih obeh saj je precej bolj zahtevna. besed (pri risanki gre za konkretno ri- sano tehniko, animacija pa je na nek na- Napoved dela: Vprašam jih, kaj vse se- čin nadpomenka, naj zajema vse oblike stavlja animirani film. Ugotovimo, da so filmskega in video animiranja,; razložim to tri stvari, in sicer: zgodba - ki nam želi jim tudi izvor besede). Iz tega izpeljem podati neko sporočilo, slika - ki nam pri- še različne tehnike in zvrsti animacije. Z kazuje to zgodbo in zvok (šum, dialog in učenci naštevamo njim znane primere, glasba). Na podlagi tega ugotovimo, da za katere menijo, da so v različnih tehni- bo prav po tem vrstnem redu nastajala kah. Večinoma poznajo primere iz ma- tudi njihova animacija, ki jo bodo izde- lih zaslonov. Uvodni pogovor je trajal lali skupaj s sošolcem - v dvojicah. Na približno 7 minut. tablo zapišem vse tri faze.

Razlaga tehnike: Z učenci ugotovimo Zgodba - za izhodišče smo vzeli idiome, bistvo animiranja na primerih optičnih pregovore in reke, ki si jih dvojica sama 43 Hana Repše bush, as poor as church mice, when the I ask whether they have any questions and cat’s away the mice will play, as cunning then invite them to commence the work. as a fox …). We also briefly discuss the We used approximately 8 minutes for the topic. The students write their stories introduction of our work process. down as simplified storyboards. Students’ Work: Students pair up, fi- Image – I tell the students that they will nish their written accounts of the sto- make their backgrounds and characters ries they wish to present, and take the from collage paper. Once everything is materials needed (the coloured papers, made we will use a webcam, a computer scissors, glue…). I also draw the stu- and a specialized program Monkey Jam dents’ attention to the immobile (pas- to record the image. sive, static) and movable (active, mobile) parts – the static ones can be glued Sound – I explain that the students will to the background, while the active provide the sounds (by talking, making will be merely cut out and saved for noises…) and record them themselves. the filming. I guide and advise them on

Otroška delavnica na festivalu Losifest / Children workshop on Losifest 44 Hana Repše izbere (obesiti šolo na klin; hoditi kot mačka okoli vrele kaše; biti reven kot cerkvena miš; ko mačke ni doma, miši plešejo; zvit kot lisica ...). Nekaj besed posvetimo tudi temi. Učenci si zgodbo zapišejo na list v poenostavljeni obliki storyboarda.

Slika - učencem povem, da bodo sce- no in izbrane karakterje izdelali iz ko- Otroška animacija / Children's animation laž papirja. Ko bo vse izdelano, bodo s pomočjo web kamere, računalnika in z in morebitnih poenostavitvah. Za do- namenskim programom Monkey Jam govarjanje o ideji jim je v prvi uri ostalo sliko tudi posneli. še 20 minut.

Zvok - učence opozorim, da bodo zvok 2. ura: proizvajali sami (z govorjenjem, ropota- Učenci osvežijo zapisano idejo in zač- njem, s šumi ...) in ga tudi posneli. nejo z izdelovanjem ozadja - scene ter likov - karakterjev. Vprašam jih še za morebitna vprašanja in jih povabim k delu. Za napoved dela 3. ura: smo porabili približno 8 minut. [2] Učenci nadaljujejo z izdelovanjem ani- macijskega materiala, hitrejši učenci pa Delo učencev: Učenci se združijo v lahko že začnejo s snemanjem vizual- dvojice in si izberejo zgodbo, ki jo želijo nega dela. Za snemanje smo uporabili upodobiti, za tem pa vzamejo primeren samo eno snemalno enoto - en računal- material (barve papirja, škarje, lepilo nik, eno kamero in eno fotografsko sto- ...). Med delom učence opozorim še na jalo. To se seveda ni izkazalo za najbolj- negibne (pasivne oz. statične) in gibne (aktivne oz. premične) dele - statične še, saj se proti koncu ure že ustvari vrsta lahko zalepijo na ozadje, premične pa in učenci čakajo na snemanje. Idealno samo izrežejo in shranijo za snemanje. bi bilo, če bi lahko uporabljali še vsaj Individualno jih usmerjam in jim svetu- eno ali dve snemalni enoti. jem pri izbiri zgodbe, njeni uresničitvi 45 Hana Repše their story selection, its realization and the camera operator in order to avoid possible simplifications individually. any unwanted shots of hands moving We still have 20 minutes of the first the images. study period to elaborate and discuss our ideas. 4th Study Period: The last animator-camera operator pairs 2nd Study Period: are filming their animation. The rest of Students refresh their memory of the the class is discussing the results, what written idea and start developing their could be improved, what they learned, backgrounds-scenes and characters. whether their experience was positive, whether they enjoyed the work or it was 3rd Study Period: hard and difficult for them… With the Students continue to manufacture their use of an LCD projector I present the animation materials. Those faster can students with some other short animati- already start filming their visual work. on films from my DVD. Due to the lack We used only one recording unit: one of more recording units, we unfortuna- computer, one camera and one tripod. tely ran out of time to record sound. This of course proved to be insufficient, because toward the end of the period Artistic fields: students already cued up and were wa- drawing, painting, spatial design, visual iting for their moment to come. Ideal- communication film, animation film. ly, we would therefore use at least two units. We set the camera on the tripod Artistic subject: facing downwards, since the students visual media will place their collage backgrounds on the desk and will animate it on the Artistic technique: desk. The camera shot captures slightly collage animation less than the whole background in order to exclude the desk from the shot. Artistic theme: I explain the workings of the computer idioms, proverbs, sayings program and the use of computer and camera to each student individually. I Educational goals: warn the students of the importance of introduction to animation and its fun- coordination between the animator and damental principles; distinguishing the 46 Hana Repše

Pred snemanjem kamero postavimo na be 2 koluta in revije Ciciban Cicido. Ker fotografsko stojalo tako, da jo usmerimo nismo imeli več snemalnih enot, nam je navzdol, saj bodo učenci kolaž papir po- žal zmanjkalo časa za snemanje zvoka. stavili na mizo in tam tudi animirali. S kamero zajamemo nekoliko manj ozad- Likovno področje: risanje, slikanje, pro- ja, da se na sliki ne bo pojavila miza. storsko oblikovanje, vizualne komuni- Dvojicam individualno predstavim de- kacije, film, animirani film lovanje programa, uporabo računalnika in kamere. Učence opozorim na uskla- Likovni problem: jeno delo animatorja in snemalca, da se vizualni mediji ne bi v sliki pojavljale nezaželene roke. Likovna tehnika: 4. ura: animacija kolaža Animacijo snemajo še zadnji pari. S preostalim razredom se pogovarjamo o Likovni motiv: nastalem in o tem, kaj bi lahko izboljša- idiomi, pregovori, reki li, kakšne izkušnje so pridobili kako jih ocenjujejo (pozitivno ali negativno), ali Vzgojno-izobraževalni cilji: so pri tem uživali ali ne, zakaj ... Učencem spoznajo področje animacije in njene z uporabo LCD projektorja predstavim osnovne zakonitosti; razlikujejo pojme še nekaj kratkih animiranih filmov iz filmska umetnost, film, risanka, anima- DVD-ja Slon, ki je izšel decembra 2007 v cija, kader, sekvenca, filmski plan, sce- koprodukciji Društva za oživljanje zgod- narij, scena, režiser, montažer, aktivni (gibni) in pasivni (negibni) liki; nauči- jo se ločiti različne tehnike animiranja; vrednotijo razlike med realnimi in vir- tualnimi dogodki; razvijajo čut za estetsko izvedbo dela; privzgajajo vztrajnost za doseganje spretnosti, ki terjajo znanje in tehniko; razvijajo samostojnost in odgovornost do svojega dela; razvijajo smisel za kreativno likovno interpreta- Otroška animacija / Children's animation cijo sporočila; ustvarijo svoj prvi kratki

47 Hana Repše concepts of cinematography, film, carto- Materials – tools: on, animation, shot, sequence, shot size, pencil, paper, collage, drawing sheets, screenplay, scene, director, editor, active glue, scissors, lights, tripod, web camera, (moving) and passive (static) charac- extension lead, computer, DVD media. ters; learning to distinguish between different animation techniques; evaluating Interdisciplinary collaboration: the differences between real and virtual Slovene language, music education, film events; developing a sense for the ae- education, media education sthetic character of the work produced; developing an endurance and persisten- ce needed to develop skills which acqui- References: re knowledge and technique; developing an independent and responsible attitude [1] Art education curricula, primary education toward one’s work; developing a sense programme, Ministry of Education and Sport, The for the creative artistic interpretation National Education Institute of the Republic of of expressions and messages; creating a Slovenia, 2004. first short animation film. [2] Animation Film and The Elephant Children’s Programme 2007, Pedagogical Materials for Te- Teaching methods: achers and Parents II, The Making of Animation frontal, individual, pairs Film and Content Analysis of The Elephant Pro- gramme 2007, Ljubljana 2007. Teaching methods: discussion, explanation, presentation All created films can be found at: www.rupnik.net/animacije/idiomi Teaching aids: computer, web camera, LCD projector

HANA REPŠE graduated from Art Pedagogy at the University of Maribor, her graduate thesis being Animated film in educational project work. Since finishing her studies she has been actively involved with the teaching of animation/animated film at various workshops within The Elephant programme and elsewhere. She currently continues to develop her pedagogical skills and knowledge as an intern at the Angel Besednjak Primary School in Maribor, while developing her creative work as a postgraduate student of Sculpture and Video Art at the Academy of Fine Arts in Ljubljana. In January 2008 she took over as head of The Elephant Educational Animation Film Programme of the Animateka Festival. 48 Hana Repše

Medpredmetno povezovanje: slovenščina, glasbena vzgoja, filmska vzgoja, medijska vzgoja

Viri in literatura

[1] Učni načrti za likovno vzgojo, program osnov- nošolskega izobraževanja, Ministrstvo za šolstvo, znanost in šport, Zavod RS za šolstvo, 2004. Otroška animacija / Children's animation [2] Animirani film in otroški program Slon 2007, Pedagoško gradivo za učitelje in starše II, Izdela- animirani film. va animiranega filma in vsebinska analiza pro- Učne oblike: grama Slon 2007, Ljubljana 2007. frontalna, individualna, delo v dvojicah Nastala dela si lahko pogledate na spletni strani: Učne metode: www.rupnik.net/animacije/idiomi. pogovor, razlaga, prikazovanje

Učila in učni pripomočki: računalnik, web kamera, LCD projektor

Material – orodja: svinčnik, papir, kolaž, risalni listi, lepilo, škarje, luči, stojalo, web kamera, podalj- šek, računalnik, DVD mediji

HANA REPŠE je končala študij likovne pedagogike v Mariboru s temo diplomskega dela Animirani film v vzgojno-izobraževalnem projektnem delu. Od takrat se intenzivno ukvarja s poučevanjem animacije/ animiranega filma na različnih delavnicah tako v okviru programa Slon kot tudi drugače. Trenutno svoja pedagoška znanja dopolnjuje v okviru pripravništva na osnovni šoli Angela Besednjaka v Mariboru, ustvarjalno delo pa na podiplomskem študiju kiparstva in videa na Akademiji za likovno umetnost in oblikovanje v Ljubljani. Od januarja letos vodi Vzgojno-izobraževalni program animiranega filma Slon.

49 50 51 Martina Peštaj

Animated films are often a child’s first con- their momentary choices are influenced by tact with film and cinema. This does not, current trends and their peers, this experi- however, mean that animation is reser- ence of something different will surely stay ved for children alone, and this year’s the with them and shape their perception. Elephant serves as proof: we have divided the animation films into four categories or For your work with children, we have pre- age groups, ranging from three years of age pared discussion starting-points and refe- to teenagers. This categorization was done rences accompanying each film. We have with extreme care and caution, since each picked out the message of the story and age group possesses distinct characteri- offered some suggestions for discussion, stics and each individual film addresses a reflection, project work, writing, drawing or specific group. Yet all carry a high aesthetic, play. The films’ artistic qualities can serve social and experiential value, and present as a good starting-point for recreation and an excellent starting-point for discussions adaptation through the language of anima- with children and youth, for stimulating their tion, while the social side offers a chance to analytical and creative thinking as well as identify with the story and its heroes, and discovering their own creative expressions. to tackle various, even tabooed subjects. We can connect films to various fields and The Elephant’s animation films differ from subjects (for example fine arts, music, na- the dazzling, daring and fast images on TV ture, language, history, civic education and screens. We as adults have the responsibili- ethics). Or we can simply enjoy them. The ty to introduce children, flooded by the mul- decision is up to you. We have merely made tiplicity of media products, to quality pro- sure that everything you might need is at ductions and to talk to them about it. Even if your disposal.

MARTINA PEŠTAJ is a psychologist, working for the Programme for children and youth at TV Slovenia as the editor of children’s programmes. She is the author, screenwriter and editor of programmes which strive to find and test new and fresh ways to reach children. She is professionally involved in the field of media psychology. She participates in international research studies, lectures on the purpose of television broadcasting for children, is the author of articles and explores film education for children through the medium of animation films. 52 Martina Peštaj

Animirani filmi so pogosto otrokova prva tudi bodo njihove trenutne izbire podrejene srečanja s filmsko umetnostjo. Vendar pa to vplivom modnih zapovedi in vrstnikov, jih bo ne pomeni, da so zato namenjeni samo naj- izkušnja drugačnega na poseben način za- mlajšim gledalcem. Letošnji Slon je najboljši znamovala in prav gotovo tudi oblikovala. dokaz, da temu ni tako: animirane filme smo razvrstili v štiri kategorije, ki segajo od treh Ob vsakem filmu smo pripravili vsebinska pa vse do najstniških let. Razvrščali smo jih izhodišča za vaše delo z otroki. Izluščili smo zelo previdno in skrbno, vsaka starostna sporočilo zgodbe in nanizali nekaj predlo- skupina ima svoje značilnosti in vsak film gov za pogovore, spodbujanje k razmišlja- najbolje nagovarja določeno skupino. Prav nju, projektno delo, pisanje, risanje, igranje. vsi pa imajo visoko estetsko, socialno in do- Umetniška plat filmov je lahko dobra iz- življajsko vrednost in so odlično izhodišče za točnica za poustvarjanje s pomočjo jezika pogovore z otroki in mladimi, za spodbujanje animacije, socialna plat ponuja identifikaci- njihovega analitičnega in ustvarjalnega mi- jo z zgodbo in njenimi junaki ter obdelavo šljenja ter iskanja lastnih kreativnih izrazov. različnih, tudi tabuiziranih tem. Filme lahko povežemo z različnimi področji in predmeti Animirani filmi iz Slonovega programa so (npr. likovna umetnost, glasbena umetnost, drugačni od bleščečih, hitrih in drznih podob narava, slovenščina, zgodovina, državljan- z domače televizije. Odgovornost nas, odra- ska vzgoja in etika), ali pa v njih preprosto slih, je, da otrokom v poplavi najrazličnejše uživamo. Odločitev prepuščamo vam, mi medijske ponudbe pokažemo kakovostne smo poskrbeli, da imate na voljo vse, kar bi izdelke in se z njimi o tem pogovarjamo. Če- lahko potrebovali.

MARTINA PEŠTAJ je psihologinja, zaposlena v Otroškem in mladinskem programu Televizije Slovenija kot urednica oddaj za otroke. Je avtorica, scenaristka in urednica oddaj, ki iščejo in preizkušajo vedno nove poti do otrok. Strokovno se ukvarja s področjem medijske psihologije. Sodeluje v mednarodnih raziskavah, predava o pomenu televizije za otroke, piše članke in skozi animirane filme raziskuje filmsko vzgojo otrok.

53 Azur & Asmar / Azur et Asmar Puppet show Why is the Dog Chasing the Rabbit?, Nebo Puppet Theatre 16.00: Pre-festival Premiere Azur & Asmar / Azur et Asmar Monday, December 8 17.00: Azur & Asmar / Azur et Asmar Tuesday, December 9 10.00: Elephant I: Animated shorts programme for children age 4 – 7 Wednesday, December 10 10.00: Elephant II: Animated shorts programme for children age 7 - 10 Thursday, December 11 10.00: Elephant III: Animated shorts programme for children age 10 - 14 Friday, December 12 10.00: Elephant IV: Animated shorts programme for youth over 14 Saturday, December 13 10.00: Family Elephant I: Selection of animated films for parents and children age 3 – 8 11.00: Papelito Puppet Theatre and paper puppets workshop 13.00: Animated film workshop at the Oton Župančič Library Sunday, December 14 11.00: Azur & Asmar / Azur et Asmar 12.00: Animated film workshop in Kinodvor Cinema Family Elephant II: Selection of animated films for parents and children age 15.00: 9 – 14, with the presentation of works created in workshops and Star Wars VII, children’s puppet show.

54 Azur & Asmar / Azur et Asmar Nedelja, 7. december Puppet show Why is the Dog Chasing the Rabbit?, Nebo Puppet Theatre Lutkovna predstava Zakaj teče pes za zajcem?, LG Nebo 16.00: 16.00: Pre-festival Premiere Azur & Asmar / Azur et Asmar predpremiera francoskega celovečernega filmaA zur in Asmar Monday, December 8 Ponedeljek, 8. december 17.00: Azur & Asmar / Azur et Asmar 17.00: francoski celovečerni film Azur in Asmar Tuesday, December 9 Torek, 9. december 10.00: Elephant I: Animated shorts programme for children age 4 – 7 10.00: Slon I: Program kratkih animiranih filmov za otroke od 4. do 7. leta* Wednesday, December 10 Sreda, 10. december 10.00: Elephant II: Animated shorts programme for children age 7 - 10 10.00: Slon II: Program kratkih animiranih filmov za otroke od 7. do 10. leta* Thursday, December 11 Četrtek, 11. december 10.00: Elephant III: Animated shorts programme for children age 10 - 14 10.00: Slon III: Program kratkih animiranih filmov za otroke od 10. do 14. leta* Friday, December 12 Petek, 12. december 10.00: Elephant IV: Animated shorts programme for youth over 14 10.00: Slon IV: Program kratkih animiranih filmov za mladostnike od 14. leta dalje* Saturday, December 13 Sobota, 13. december 10.00: Family Elephant I: Selection of animated films for parents and children age 3 – 8 10.00: Družinski Slon I: Izbor kratkih animiranih filmov za starše in otroke od 3. do 8. leta 11.00: Papelito Puppet Theatre and paper puppets workshop 11.00: LG Papelito in delavnica papirnatih lutk 13.00: Animated film workshop at the Oton Župančič Library 13.00: Brezplačna dvourna delavnica animiranega filma v Knjižnici Otona Župančiča Sunday, December 14 Nedelja, 14. december 11.00: Azur & Asmar / Azur et Asmar 11.00: Francoski celovečerni film Azur in Asmar 12.00: Animated film workshop in Kinodvor Cinema 12.00: Brezplačna dvourna delavnica animiranega filma v Kinodvoru Family Elephant II: Selection of animated films for parents and children age Družinski Slon II: Izbor kratkih animiranih filmov za starše in otroke od 9. do 15.00: 9 – 14, with the presentation of works created in workshops and Star Wars VII, 15.00: 14. leta in predstavitev del, nastalih na delavnicah. Po projekciji v preddverju children’s puppet show. Kinodvora: Lutkovna predstava Vojna zvezd VII

*Ob projekcijah organiziramo enourne delavnice animiranega filma po naročilu šol. Več na strani 97.

55 Martina Peštaj

Elephant I: Tuesday, December 9 Slon I: torek, 9. december 4-7 7-10 10-14

14+ 3+ 9+

ANIMATOU Claude Luyet, G. Schwizgebel, D. Delachaux, C. Barras, R. Andreani, A. Lachavanne (Studio GDS) Švica / Switzerland, 2007, BetaSP, 5'36''

This exquisite animation film draws us into the Odličen animirani film, ki nas na izviren način art of animation with an original approach, intro- popelje v umetnost animacije in nas seznani z ducing various animation techniques. A cat and različnimi tehnikami. Mačka in miš oživita pred a mouse spring to life before our eyes and then našimi očmi in nato tečeta iz ene tehnike v drugo, scurry from one technique into the other, from a od preproste risbe s svinčnikom do zapletene ra- simple pencil drawing to complex computer ani- čunalniške tehnologije. Z otroki spremljajte njun mation. Follow this development together with razvoj, poskusite določiti tehnike in jih povežite the children, try to discern the techniques and še z drugimi risankami in animiranimi filmi, ki jih relate these to other cartoons and animations, otroci poznajo. Spodbujajte jih k razmišljanju, ka- familiar to the children. Encourage them to think tera tehnika jim je najbolj všeč in zakaj. about which technique they prefer and why.

56 Slon I: torek, 9. december 2008 / Elephant I: Tuesday, December 9

JIRO IN MIU / JIRO A MIU / JIRO AND MIU Jun Nito (Film School Zlín) Češka / Czech Republic, 2007, 35mm, 7'53''

Jiro wants nothing more than to fly, and his Jiro si najbolj od vsega želi leteti in prijateljica friend Miu is there to help him. But the Super- Miu mu pri tem pomaga. A kaj, ko supermanov man costume and the butterfly wings just won’t kostum in metuljeva krila niso najboljši pripo- do the trick. So they come up with a solution: moček. Pa se domislita: zgradila bosta letalo! They shall build an airplane! This endearing film Prikupni animirani film spodbuja k pogovoru o prompts a discussion about flying – which ani- letenju – katere živali in predmeti lahko poletijo mals and objects can fly and how do they do in na kakšen način to naredijo. Zanimiv je lahko this. An interesting discussion can also develop tudi pogovor o tem, kaj si želijo početi otroci, kar around what the children themselves long to do lahko vodi tudi v ustvarjalno razmišljanje o tem, and the creative ways to make this happen. kako lahko to uresničijo.

KORENČEK NA PLAŽI / PORGAND SUVITAB / CARROT ON THE BEACH Pärtel Tall (Nukufilm) Estonija / Estonia, 2008, BetaSP, 6'15''

A snowman dreams of a carefree summer on the Snežak sanja o brezskrbnem poletju na plaži, beach but reality brings nothing but worries. Not resničnost pa prinese velike skrbi. Ne samo da only does he suffer from the heat of the summer je snežaku poleti ob morju vroče, tudi ostali pre- sun, other people are anything but friendly. After bivalci niso nič kaj prijazni do njega. Po vrsti pri- a series of events, his friendship with the rabbit god se prijateljstvo z zajcem izkaže za največji turns out to be most precious. Relate the chan- zaklad. Povežite spreminjanje snežakove oblike ging of the snowman’s shape to the circulation of s kroženjem vode v naravi. Kako je zajec na kon- water occurring in nature. How did the rabbit fi- cu pomagal snežaku? Kaj se bo z njim zgodilo nally help the snowman? What will happen to him zdaj, ko padajo snežinke? Ustvarjajte iz plasteli- now that the snow is falling? Create with plastici- na – naj vsak otrok naredi svojega snežaka! ne, let each child make his or her own snowman!

57 Slon I: torek, 9. december 2008 / Elephant I: Tuesday, December 9

MIRIAMINE BARVE / MIRIAMI VÄRVID / MIRIAM'S COLOURS Jelena Girlin, Mari Liis Bassovskaja (Nukufilm) Estonija / Estonia, 2008, BetaSP, 5'

Miriam and her brother discover an old family Miriam in njen bratec najdeta star družinski album with black and white photographs and album s črno-belimi fotografijami in v hipu vse in an instant everything turns black and white. postane črno-belo. Tudi onadva. Odločita se, da Including themselves. They decide to colour it all bosta vse na novo pobarvala. Pogovarjajmo se, anew. Let’s talk about what the world would be kakšen bi bil svet, če ne bi bilo barv. Oglejmo si like if there were no colours. Let’s see the film film še enkrat in skupaj poimenujmo barve, ki jih again and name all the colours used by our cha- uporabita junaka. Fotografirajmo se v barvni in racters together. Let’s take our picture in colour črno-beli tehniki in primerjajmo izdelke – vsaka and b&w, and compare the two – each technique tehnika ima svoje prednosti in posebnosti. has its advantages and distinct qualities.

SONČEN DAN / EIN SONNIGER TAG / A SUNNY DAY Gil Alkabetz (Sweet Home Studio) Nemčija / Germany, 2007, 35mm, 6'17''

The Sun has a very busy schedule: It must wake Sonce ima zelo naporen delavnik: pravočasno up on time, chase away the stars and frechen se mora zbuditi, pregnati zvezde in si z oblaki up with the clouds. Only then it can shine with osvežiti lica. Potem zasije v vsej svoji lepoti in all its beauty and warmth. But what’s the use toploti. Toda kaj, ko se ljudje na plaži pred njim when on the beach people hide from him, and skrivajo in se sladoledar nanj celo huduje! Po- the ice-cream man even gets angry! Talk to the govarjajte se z otroki o soncu, poiščite njegove children about the sun, find its illustrations wi- znanstvene in umetniške upodobitve, poiščite thin science and art, look up information about podatke o njem v enciklopedijah in zgodbe v le- it in encyclopedias and stories in literature. How poslovju. Kako se vedemo na soncu, da njegov can we prevent the harmful effects when expo- učinek za nas ni škodljiv? In na koncu – kako mi sed to sunlight? An finally, how do we see the vidimo sonce? Narišimo ga! sun ourselves? Let’s draw it! 58 Elephant II: Wednesday, December 10 Slon II: sreda, 10. december

4-7 7-10 ANIMATOU 10-14 Claude Luyet, G. Schwizgebel, D. Delachaux, C. Barras, R. Andreani, A. Lachavanne (Studio GDS) Švica / Switzerland, 2007, BetaSP, 5'36'' 14+ 3+ 9+

Medved gre / Karu Tuleb (Lacis Nak) / THE BEAR IS COMING Jānis Cimermanis (Animacijas Brigade Film Studio) Latvija / Latvia, 2007, betacam, 16'

A large brown bear suddenly appears in a slee- V zaspanem obmorskem mestecu se pojavi velik py seaside town. He hungrily rummages throu- rjavi medved. Lačen brska po košarah prebival- gh the residents’ litter bins baskets, and soon cev in kmalu je v mestu izredno stanje. Medveda the whole town is in a state of alert. The bear je treba uloviti, kličejo odrasli; medvedu je treba must be caught, cry the adults, the bear must be pomagati, si mislijo otroci in … to tudi storijo. helped, think the children and act on it. Are we Poznamo medvede, njihov način življenja, pre- familiar with the bears’ way of life, eating habits and procreation? How do we act toward wild hranjevanja in razmnoževanja? Kakšen je naš animals? We can talk about all this with children odnos do divjih živali? O vsem tem se lahko po- and together discover the most famous bears in govarjamo z otroki in skupaj odkrivamo, kateri film and literature. so najbolj znani filmski in literarni medvedi.

59 Slon II: sreda, 10. december 2008 / Elephant II: Wednesday, December 10

Moj srečni konec / My Happy End Milen Vitanov (HFF Konrad Wolf Potsdam) Nemčija / Germany, 2007, digiBeta, 5'10''

Psi v igri radi lovijo svoj rep. Pes v filmu pa je v Dogs like to chase their tails for fun. And our dog has just met his best friend during one of his takšni igri spoznal svojega najboljšega prijatelja games: His own tail! What adventures they have – lasten rep! Koliko vsega sta doživela skupaj! together! And who are our best friends? Let’s talk Kdo pa so naši najboljši prijatelji? Pogovarjajmo about them, introduce them, describe their chase o njih, predstavimo jih, opišimo njihove la- racter and stress what we like about them. What stnosti in poudarimo tisto, kar nam je pri njih are all the things we do together? And how do we všeč. Kaj vse počnemo s prijatelji? In kako re- solve any problems that emerge? Talking about šimo probleme, ki se včasih pojavijo? Pogovor o our close relationships, our friendships, is always naših najintimnejših – prijateljskih – odnosih je interesting and filled with new discoveries. vedno zanimiv in poln novih spoznanj.

Čevelj / Shoe Qian Shi (Volda University College, The Animation Workshop) Norveška, Danska / Norway, Denmark, 2007, BetaSP, 3'47''

A short episode from the life of a poor girl and Drobna zgodba iz življenja revne deklice in nje- her father reveals how a shoe became a doll. nega očeta nam pokaže, kako je iz čevlja nasta- The filmmakers were inspired by and old mu- la igračka – punčka. Ustvarjalci so idejo za film seum toy. The film offers several starting-points dobili v stari igrači v muzeju, film sam pa ponuja for a discussion with children. We can step back mnogo iztočnic za pogovor z otroki. Stopimo into the past and explore how people used to lahko v zgodovino in raziskujemo, kako so lju- live, and how their toys differed from ours. Let’s dje živeli nekdaj, stare igrače lahko primerjamo talk about the meaning of gifts, material and z današnjimi. Pogovarjajmo se o pomenu daril, symbolic, and create a toy using ordinary objec- materialnem in simboličnem in izdelajmo igračo ts which surround us. iz vsakdanjih predmetov, ki nas obdajajo.

60 Slon II: sreda, 10. december 2008 / Elephant II: Wednesday, December 10

Zgodaj ali pozno / TÔt Ou Tard Jadwiga Kowalska (Hochschule Luzern) Švica / Switzerland, 2007, 35mm, 5'

A squirrel and a bat both live in the same tree, Veverica in netopir, oba doma na istem drevesu, but each follows its own life rhythm: The squirrel vendar vsak s svojim življenjskim ritmom – ve- takes the days, the bat comes out at night. One veričini so dnevi, netopirjeve noči. Nekega dne day (or night) a coincidence brings them toge- (oz. neke noči) ju naključje združi in za vedno ther and binds them forever. A simple, yet thou- poveže. Preprosta, a domiselna zgodba ponuja ghtful story offers a chance to think about diffe- razmišljanje o drugačnosti, ki lahko na videz rences, which can seemingly divide us, but on a ločuje, ko pogledamo bolje, pa nas združi in pri- closer look connect us and bring us joy. How are naša veselje. Kakšne so razlike med nami? In we different from each other? And what do we v čem smo si podobni? Kaj zmoremo sami? In share in common? What can we do alone? And kdaj si želimo družbo? when do we long for company?

2metra / 2metros / 2METERS Javier Mrad, Javier Salazar, Eduardo Mara- ggi (Banzai Films) Argentina, 2007, BetaSP, 6'10''

A play between two meters, two measuring in- Igra dveh metrov, dveh merskih pripomočk- struments, one wooden, the other metallic. Let’s ov, lesenega in kovinskega. Pogovarjajmo se, discuss how we understood the story and what kako smo razumeli zgodbo, kaj je vsak zase each of us has seen in it. This wonderful demon- videl v njej. Čudovit prikaz animacije predme- stration of object animation entices us to imitate tov kar vabi k posnemanju. Poiščimo predmete it. Let’s find some objects in our surroundings, iz okolice, izmislimo si zgodbo in jo odigrajmo. think of a story and play it out. Let’s breathe life Vdahnimo življenje barvicam, zvezkom, radirki, into our crayons, notebooks, erasers or slippers. copatom.

61 Slon II: sreda, 10. december 2008 / Elephant II: Wednesday, December 10

Huhu - Pole Hole Alexei Alekseev (Studio Baestarts) Madžarska / Hungary, 2007, digiBeta, 3'35''

A group of owls find themselves in the midst of Skupina sov se je znašla v večnem snegu in perpetual snow and ice. When all of them end up ledu. Ko se vsi po vrsti znajdejo v globoki luknji in a deep snowed up hole, it seems there is no v snegu, se zdi, da ni rešitve. Potem pa se spo- way out. But then they remember that … they mnijo, da … znajo leteti! Kratki animirani film can fly! This short animation relates to children s svojim humorjem nagovarja otroke. Čemu with its humour. What made us laugh the most? smo se najbolj smejali? Kako ste mislili, da se How did you think the story would unravel? What bo zgodba končala? Kakšno rešitev bi še lahko other solution could the owls come up with? En- izbrale sove? Spodbudite otroke, da si izmislijo courage the children to make up and recount in pripovedujejo svojo zgodbico o sovah. their own story about owls.

Elephant III: Thursday, December 11 Slon III: četrtek, 11. december 4-7 7-10 10-14

ANIMATOU Claude Luyet, G. Schwizgebel, D. Delachaux, C. Barras, R. Andreani, A. Lachavanne14+ (Studio GDS)3+ 9+ Švica / Switzerland, 2007, BetaSP, 5'36''

This exquisite animation film draws us into Odličen animirani film, ki nas na izviren način the art of animation with an original approach, popelje v umetnost animacije in nas seznani introducing various animation techniques. A z različnimi tehnikami. Mačka in miš oživita cat and a mouse spring to life before our eyes pred našimi očmi in nato tečeta iz ene tehni- and then scurry from one technique into the ke v drugo, od preproste risbe s svinčnikom do other, from a simple pencil drawing to complex zapletene računalniške tehnologije. Spodbujaj- computer animation. Follow this development te otroke, da spremljajo njun razvoj, poskusijo together with the children, try to discern the določiti tehnike in jih povezati z drugimi ani- techniques and relate these to other cartoons miranimi filmi, ki jih poznajo. Spodbujajte jih k and animations, familiar to the children. Encou- razmišljanju o tem, katera tehnika jim je najbolj rage them to think about which technique they všeč in zakaj. prefer and why.

62 Slon III: četrtek, 11. december 2008 / Elephant III: Thursday, December 11

MALA VASILISA / MALENKAYA VASILISA / VASILISA Darina Shmidt (Melnitsa Animation Studio) Rusija / Russia, 2007, BetaSP, 15'30''

A fairy tale of a little girl whose wicked parents Pravljica o deklici, ki jo hudobna starša pustita leave her in the woods and who escapes from v gozdu, nato pa se s pomočjo prijateljev reši the witch’s clutches with the help of friends is a iz rok čarovnice, je prava paša za oči. Čudovita visual gem, and the beautiful animation a cher- animacija daje zgodbi piko na i. Pogovarjajmo ry on the top. Let’s discuss what we liked most se o animaciji, kaj nam je bilo pri njej še posebej about the animation, and what kind of impressi- všeč, kakšen vtis je naredila na nas. Razmišljaj- ons it made on us. Together with children think of mo skupaj z otroki o pravljicah, ki jih poznamo other fairy tales existing within our culture, and v naši kulturi in na katere nas zgodba o Vasilisi what tales the story of Vasilisa reminds us of. spominja.

BanabaNa – Kako je Navis dobila svoje pisano jadro / Banabana – How Navis Got Her Colourful Sail Ivan Klepac, Bruno Tolić (Otompotom) Hrvaška / Croatia, 2008, BetaSP, 5'21''

A sailboat with a colourful sail? Well why not! Jadrnica s pisanim jadrom? Zakaj pa ne! Zgod- The story of how the sail came about is just as ba o tem, kako je jadro nastalo, je prav tako extraordinary as the sail itself. Encourage the nenavadna kot jadro. Spodbudimo otroke, da children to look around and find some unusual pogledajo okoli sebe in poiščejo nenavadne objects which surround them. The object which predmete, ki jih obdajajo. Tisti, ki jih najbolj excites them the most should serve as the basis vznemirja, naj bo osnova za zgodbo o tem, kako of a story about how it came about. The more je nastal. Bolj nenavadna bo zgodba, boljša bo! extraordinary the story, the better! And animati- Tehnika animacije pa je lahko navdih pri likov- on technique can serve as an inspiration for their nem ustvarjanju. visual artistic creations.

63 Slon III: četrtek, 11. december 2008 / Elephant III: Thursday, December 11

NOVA VRSTA / JAUNA SUGA / THE NEW SPECIES Evalds Lacis (Animacijas Brigade Film Studio) Latvija / Latvia, 2007, 35mm, 10'

A family of bugs sets out on a picnic. The we- Družina hroščkov se odpravi na piknik. Vreme je ather is beautiful and they are so distracted that čudovito in sami s sabo imajo toliko dela, da sploh they never even notice the imminent danger. ne opazijo nevarnosti, ki jim grozi, dokler mame Until the bug parents get caught by a scientist, in očeta ne ujame raziskovalec, ki želi z njima hoping to complete his collection. Their coura- dopolniti svojo zbirko. Pogumna otroka pohitita geous children rush to the rescue. Let’s discuss na pomoč. Pogovarjajmo se o zgodbi in animaciji, the story and animation, trying to remember as skušajmo se spomniti čim več detajlov. Kakšni so many details as possible. What did the beetles bili hrošči? Česa vsega sta se spomnila otroka, da look like? What all did the children think of with bi rešila mamo in očeta? Pobrskajmo po knjigah to save their parents? Let’s open the books and in bolje spoznajmo žuželke. get to know different insects.

ASTONOVI KAMNI / ASTONS STENAR / ASTON'S STONES Uzi & Lotta Geffenblad (Zigzag Animation) Švedska / Sweden, 2007, 35mm, 8'55''

On one of his autumn stroles Aston picks up his Na jesenskem sprehodu Aston pobere svoj prvi first stone, and that is the beginning of a glori- kamen in to je začetek veličastne zbirke ka- ous stone collection. But when there is no more mnov, ki nastane v njihovem domovanju. Ko jih room left in their house, Aston’s father decides je preveč, se oče odloči, da je pametno kamne the stones should go on a holiday. And that is odpeljati na počitnice. Tam pa Aston začne ure- where Aston starts his brand new collection. The jati svojo novo zbirko. Film s počasnim ritmom film slowly unfolds the story of a passionate col- pripoveduje zgodbo o strastnem zbiralcu in po- lector and prompts a discussion about our own nuja pogovor o naših konjičkih. Kakšne zbirke hobbies. What do we collect and how we take imamo in kako skrbimo zanje? Kaj nas na njih care of our collections? What attracts us about pritegne? Kako izbiramo, kaj bomo zbirali? them? How do we select what to collect? 64 Slon III: četrtek, 11. december 2008 / Elephant III: Thursday, December 11

VELIKI NAČRTI / GROSSE PLÄNE / BIG PLANS Irmgard Walther (Hochschule Luzern) Švica / Switzerland, 2008, BetaSP, 3'59''

A young scientist is devising a machine which Mladi znanstvenik snuje stroj za prodajo jabolk. would sell apples. Despite his thorough designs, Kljub dobro premišljenemu načrtu pa mu stvari things don’t go as planned. Then his younger ne tečejo, kot bi morale. Na pomoč mu priskoči brother lends a hand and it seems the invention mlajši brat in zdi se, da je izum brezhiben … Le is flawless … Whoever doesn’t dream of beco- kdo si ne želi postati izumitelj?! Toliko zanimivih ming an inventor?! There are so many things reči čaka, da jih izumimo. Naj bo vsak otrok izu- waiting to be discovered. Let each child be an mitelj, ki si zamisli svoj izum. Lahko ga izdelajo inventor and devise their own inventions. They ali pa samo pripovedujejo o svoji zamisli. Spod- can create it or just talk about their ideas. Enco- bujajmo jih, da dajo svoji domišljiji prosto pot. urage them to give their imagination free reign.

Velike ambicije / Great Ambition Malcolm Sutherland Kanada / Canada, 2008, digiBeta, 2'38''

A singer leaves the countryside for the big city, Pevec se s podeželja odpravi proti velikemu me- but many surprises await there. How does he stu, tam pa ga čaka vrsta presenečenj. Kako se feel in the countryside? What are his ideas about počuti na deželi? In kakšne so njegove misli o the city? Encourage the children to identify with mestu? Spodbudimo otroke, da se vživijo vanj in him and think about his wishes. And how do we razmišljajo o njegovih željah. Kako pa mi doživlja- experience the differences between city and mo razlike med deželo in mestom? In kakšno se country life? What did we think of his singing? nam je zdelo njegovo petje? Poiščimo izvor njego- Let’s find the origins of his music and other sive glasbe, najdimo še druge podobne pesmi. milar songs.

65 4-7 7-10 10-14

Elephant IV: Friday, December 12 Slon IV: petek, 12. december

14+ 3+ 9+ ANIMATOU Claude Luyet, G. Schwizgebel, D. Delachaux, C. Barras, R. Andreani, A. Lachavanne (Studio GDS) Švica / Switzerland, 2007, BetaSP, 5'36''

This exquisite animation film draws us into the Odličen animirani film, ki nas na izviren način art of animation with an original approach, intro- popelje v umetnost animacije in nas seznani z ducing various animation techniques. A cat and različnimi tehnikami. Mačka in miš oživita pred a mouse spring to life before our eyes and then našimi očmi in nato tečeta iz ene tehnike v dru- scurry from one technique into the other, from a go, od preproste risbe s svinčnikom do zapletene simple pencil drawing to complex computer ani- računalniške tehnologije. Spodbujajte mlade, da mation. Follow this development together with spremljajo njun razvoj, poskusijo določiti tehnike the children, try to discern the techniques and in jih povezati z drugimi animiranimi filmi, ki jih relate these to other cartoons and animations, poznajo. Spodbujajte jih k razmišljanju o tem, familiar to the children. Encourage them to think katera tehnika jim je najbolj všeč in zakaj. about which technique they prefer and why.

Kiber / Cyber Stefan Eling (Moving Pictures) Nemčija / Germany, 2007, BetaSP, 5’05’’

In a perfectly ordinary living room, a magical Sredi povsem običajne dnevne sobe oživi ču- armchair springs to life, taking its owner on an dežni naslanjač, ki ponese svojega lastnika na extraordinary journey. Discuss which parts of his nenavadno potovanje. Pogovarjajmo se o tem, travels we remember and why have they stuck kateri del njegove poti smo si zapomnili in za- with us. Where would we like to go on the ma- kaj je na nas naredil vtis. Kam bi želeli, da nas gical armchair? What kind of a world would we čarobni naslanjač ponese? Kakšen svet bi želeli like to see in which time period? videti, kateri čas?

66 Slon IV: petek, 12. december 2008 / Elephant IV: Friday, December 12

DVE VILI / DVIJE VILE / THE TWO FAIRIES Miroslav Klarić, Jadranko Lopatić (Zagreb Film) Hrvaška / Croatia, 2007, BetaSP, 3'36''

Fairies are gentle, kind-hearted fairy tale be- Vile so nežna in ljubezniva bitja iz pravljic, ki so ings, there to offer their help as soon as it is v njih samo zato, da priskočijo na pomoč, brž ko needed. But what if this is not true? What if in je treba. Kaj pa, če to ni res? Kaj pa, če so vile v reality fairies are different, and what we have resnici drugačne in je to, kar smo videli, njihov just seen is their true nature? Let’s think about resnični obraz? Razmišljajmo o novem pogle- this fresh perception, and try to reveal what du, poskusimo ugotoviti, kaj je avtorja vodilo k inspired the authors to create this parody. Do ustvarjanju tovrstne parodije. Vas posamezni any of the scenes remind you of something you prizori spomnijo na kakšne že videne prizore? have seen before? Can you identify the films Ali prepoznate, iz katerih filmov sta si avtorja from which the authors borrow the elements sposodila elemente za ta animirani film? for their animation film?

Prepovedane igre / Forbiden Games Jisuk Jung (JSJ-ART) Južna Koreja / South Korea, 2008, DVD, 4'25''

Zgodba o vsestranskem človeškem onesna- The story about the universal human pollution of ževanju zemlje je tokrat povedana s posebno the Earth told in a special animation technique. tehniko animacije. Posebej se posvetimo vsebini Focus on the form and content of the film. How in obliki filma. Kakšno je naše mnenje oone- do we perceive pollution? What is the most dan- snaževanju? Katera vrsta je najbolj ogrožajoča? gerous kind of pollution? What can we do to pre- Kaj lahko naredimo mi sami, da bi bilo bolje? vent it? Was the technique demonstrative? Did it Je bila tehnika prikaza učinkovita? Je dosegla reach its target audience, young people? Did it ciljno publiko, mlade, ki jim je bila namenjena? deliver the right message? Je prenesla pravo sporočilo?

67 Slon IV: petek, 12. december 2008 / Elephant IV: Friday, December 12

HLADILNIK / LEDNICE / THE FRIDGE Lucie Štamfestová (Punk Film) Češka / Czech Republic, 2007, BetaSP, 7’

Another film which tackles a topical subject – Še en film, ki se spoprijema z aktualno tematiko our planet’s global warming. Have you ever – globalnim segrevanjem našega planeta. Ste se wondered what would happen in a fridge, if you kdaj vprašali, kaj bi se zgodilo v hladilniku, če bi would accidentally leave the door open? Did you ga po nesreči pustili odprtega? Ste si predsta- imagine something similar to what you’ve just vljali kaj takega, kar ste videli? Razmišljajte o seen? Think about the individual stages of this posameznih fazah procesa. Kaj je vzrok in kaj process. What is the cause and what the con- posledica? Kaj se lahko v prihodnosti zgodi z sequence? What can happen to Earth in the fu- zemljo, če ne bomo zanjo bolje poskrbeli? Pri- ture, if we don’t start taking better care of her? povedujte scenarije! Present your own scenarios!

NIČ NOVEGA POD SON- CEM / NIC NOVÉHO POD SLUNCEM / SINCE THE DAWN OF MAN Aneta Kýrová (FAMU Prague) Češka / Czech Republic, 2007, BetaSP, 4’40’’

Men and women in prehistory and today; dif- Moški in ženske v pradavnini in danes – druga- ferent appearances, similar habits. Discuss the čen izgled, vendar enake navade. Pogovarjajmo portrayed characteristics of men and women in se o prikazanih lastnostih moških in žensk nekoč times past and today. Explore gender relations in danes. Kakšen je odnos med spoloma, kakšna and the division of labour. Let’s try to remem- je delitev dela? Poskusimo se spomniti čim več ber as many gender stereotypes as possible. stereotipov, ki veljajo o spolih. Pogovarjamo se o Let’s talk about these and listen to the pros and njih, poslušajmo argumente za in proti. Kako bi cons. How can we go about changing these lahko spreminjali stereotipe? stereotypes?

68 Slon IV: petek, 12. december 2008 / Elephant IV: Friday, December 12

KO SMO V NEBESIH / UND WENN WIR DANN IM HIMMEL SIND / WHEN WE ARE IN HEAVEN Daniela Risch (Academy of Media Arts Cologne) Nemčija / Germany, 2008, BetaSP, 4'

A well known family story with a happy begin- Dobro znana družinska zgodba s srečnim začet- ning and a sad ending, this time told in a unique kom in z žalostnim koncem, tokrat predstavlje- and interesting way. Let’s focus our attention on na na samosvoj in zanimiv način, zato usmerimo animation technique. What guided the author pozornost na animacijo. Kaj je vodilo avtorico k in his selection of this technique? Why did she izboru tovrstne tehnike animacije? Zakaj je na- choose chairs instead of people? How do these mesto ljudi izbrala stole? Kako stoli pripoveduje- chairs tell the story? What could have a similar jo zgodbo? Kaj bi namesto stolov imelo podoben effect on the story as the chairs? učinek na zgodbo?

SERVISNA SLUŽBA / ATTENCION AL CLIENTE / CUSTOMER SERVICE Marcos Valín, David Alonso (ECAM) Španija / Spain, 2007, 35mm, 8'

All a grandmother wants for her dog is food, but Vse, kar si babica zaželi za svojega psa, je hra- the path to get it is spun with obstacles, and both na, pot do nje pa je nepričakovano zapletena in our heroes end up in jail. Yet the true ending is se za oba junaka konča v zaporu. Ampak pravi much more interesting and amusing. The film konec je mnogo bolj zanimiv in zabaven. Film se tackles the contemporary consumerist rush, im- na duhovit način spopade s sodobno potrošniško personal stores and discount schemes with hu- mrzlico, z brezosebnimi trgovinami in akcijskimi mour. Together with the young audience discuss cenami. Pogovarjajmo se z mladimi o njihovem their views about consumerism. What influences odnosu do potrošništva. Na kakšen način izbi- their choices when buying something, how do rajo to, kar kupujejo, kako si postavljajo meje in they set their limits, and how they earn money? kako zaslužijo denar?

69 Slon IV: petek, 12. december 2008 / Elephant IV: Friday, December 12

KJFG št. 5 / KJFG No.5 Alexei Alekseev (Studio Baestarts) Madžarska / Hungary, 2008, digiBeta, 1'52''

Three forest animals, the rabbit, the wolf and the Tri gozdne živali – zajec, volk in medved – imajo bear, form a band. Practice is a serious matter, svoj bend. Vaje so resna reč, potem pa jih nena- but it’s suddenly interrupted by the hunter. Let’s doma zmoti lovec. Pogovarjajmo se o tem, kako 4-7 talk about how each of us experienced this short je vsak med nami doživel ta kratki film, kako7-10 si 10-14 film, how we interpret its message, what amu- razlaga njegovo sporočilo, kaj se mu je zdelo za- sed us and what did not. bavno in kaj ne.

Family Elephant I: Družinski Slon I: Saturday, December 13 sobota, 13. december14+ 3+ 9+

ANIMATOU Claude Luyet, G. Schwizgebel, D. Delachaux, C. Barras, R. Andreani, A. Lachavanne (Studio GDS) Švica / Switzerland, 2007, BetaSP, 5'36''

VELIKI NAČRTI / GROSSE PLÄNE / BIG PLANS Irmgard Walther (Hochschule Luzern) Švica / Switzerland, 2008, BetaSP, 3'59''

70 Družinski Slon I: sobota, 13. december 2008 / Family Elephant I: Saturday, December 13

KORENČEK NA PLAŽI / PORGAND SUVITAB / CARROT ON THE BEACH Pärtel Tall (Nukufilm) Estonija / Estonia, 2008, BetaSP, 6'15''

MIRIAMINE BARVE / MIRIAMI VÄRVID / MIRIAM'S COLOURS Jelena Girlin, Mari Liis Bassovskaja (Nukufilm) Estonija / Estonia, 2008, BetaSP, 5'

SONČEN DAN / EIN SONNIGER TAG / A SUNNY DAY Gil Alkabetz (Sweet Home Studio) Nemčija / Germany, 2007, 35mm, 6'17''

71 Družinski Slon I: sobota, 13. december 2008 / Family Elephant I: Saturday, December 13

PROFESOR BALTAZAR: DVA CILINDRA / PROFESSOR BALTHAZAR: TWO TOP HATS Pavao Štalter (Zagreb Film / Windrose Film) Jugoslavija (Hrvaška), Nemčija / Yugoslavia (Croatia), Germany, 1978, digiBeta, 5'28''

A truly awkward situation: the wind twirls and Zares nerodna situacija: veter zapiha in v zra- mixes two top hats, one full of rabbits belonging ku zameša cilindra. Eden je last čarodeja in je to a magician, the other full of musical notes poln zajcev, drugi pripada dirigentu in je poln belonging to a conductor. Their performance not. Njuni predstavi sta pravi polomiji. Duhoviti is a fiasco. This witty animated film, filled with animirani film, poln situacijskega humorja, bo situational humour, will surely stir children’s otrokom gotovo razburkal domišljijo. Spodbu- imagination. Encourage them to think of similar jajte jih naj tudi sami razmišljajo o zabavnih za- funny mix-ups on their own. For example, a po- menjavah pripomočkov ljudi različnih poklicev. liceman, holding a rolling pin in the middle of a Da bi, na primer, policist v križišču v roki držal traffic jam or a baker blowing a whistle for the valjar, pek pa bi testu žvižgal s piščalko! dough to rise!

72 4-7 7-10 10-14

Family Elephant II: Družinski Slon II: Sunday, December 14 nedelja, 14. december 14+ 3+ 9+

ANIMATOU Claude Luyet, G. Schwizgebel, D. Delachaux, C. Barras, R. Andreani, A. Lachavanne (Studio GDS) Švica / Switzerland, 2007, BetaSP, 5'36''

MOJ SREČNI KONEC / MY HAPPY END Milen Vitanov (HFF Konrad Wolf Potsdam) Nemčija / Germany, 2007, digiBeta, 5'10''

ASTONOVI KAMNI / ASTONS STENAR / ASTON'S STONES Uzi & Lotta Geffenblad (Zigzag Animation) Švedska / Sweden, 2007, 35mm, 8'55''

NOVA VRSTA / JAUNA SUGA / THE NEW SPECIES Evalds Lacis (Animacijas Brigade Film Studio) Latvija / Latvia, 2007, 35mm, 10'

73 Družinski Slon II: nedelja, 14. december 2008 / Family Elephant II: Sunday, December 14

ČEVELJ / SHOE Qian Shi (Volda University College, The Animation Workshop) Norveška, Danska / Norway, Denmark, 2007, BetaSP, 3'47''

HUHU - POLE HOLE Alexei Alekseev (Studio Baestarts) Madžarska / Hungary, 2007, digiBeta, 3'35''

profesor Baltazar: pingvin Axel / professor balthazar: axel the penguin Zdenko Gašparović (Zagreb Film / Windrose Film) Jugoslavija (Hrvaška), Nemčija / Yugoslavia (Croatia), Germany, 1978, digiBeta, 5'28''

Prijazni in požrtvovalni poštar prinaša pisma A kind and unselfish postman delivers letters in veselje prebivalcem malega mesta. Ko si and joy to the residents of a small town. When nesrečnik poškoduje nogo, mu priskoči na po- the poor fellow injures his leg, his faithful friend moč zvesti prijatelj – pingvin. Film spodbuja – the Penguin – comes to the rescue. The film k pogovoru o čarobni moči dobre volje, ki jo encourages us to talk about the magic power seje poštar med raznašanjem pošte. Prijatelj- of good will. Their friendship can serve as a re- stvo med poštarjem in pingvinom pa je lahko flection of our own relationships: Who are our ogledalo naših odnosov: kdo so naši prijatelji, friends? How we spend our time together? And kaj vse počnemo z njimi, kaj naredimo, ko je what do we do when our friends are in need? prijatelj v stiski? 74 Družinski Slon II: nedelja, 14. december 2008 / Family Elephant II: Sunday, December 14

ČIKORJA AN' KAFE / CHICORY 'N' COFFEE Dušan Kastelic (Bugbrain) Slovenija / Slovenia, 2008, 35mm, 8'20''

This beautiful animation film, made by a Slo- venian author, was inspired by a song with Prelep animirani film, slovenski izdelek, je na- the same title by the singer songwriter Iztok stal po istoimenski pesmi kantavtorja Iztoka Mlakar. In the distinct Slovenian Primorska dia- Mlakarja. V primorskem dialektu pripoveduje lect it tells the bitter sweet story of past times, grenko-sladko zgodbo iz preteklih časov, ko when grandma used to swap grandpa’s coffee je nona nonotu namesto kave kuhala čikorijo. with a chicory substitute. Try to understand the Poskusimo razumeti narečje, razložimo posa- dialect, and explain the unknown expressions. mezne neznane besede. Film je dobra iztočnica The film is a good starting-point for a discus- za pogovor o življenju, odnosih, ki jih gradimo, o sion about life, relationships, successful and uspešnih in neuspešnih načinih sobivanja. unsuccessful ways of living together.

KJFG št. 5 / KJFG No.5 Alexei Alekseev (Studio Baestarts) Madžarska / Hungary, 2008, digiBeta, 1'52''

75 76 Azur in Asmar / Azur et Asmar / Azur & Asmar Francija / France, 2006, 35 mm, 99'

V francoskem jeziku z angleškimi in slovenskimi podnapisi. / In French language with English and Slovenian subtitles.

Film je primeren za otroke. / Suitable for children.

Režija / Directed by: Michel Ocelot Asistent režije / Assistant Director: Eric Serre Scenarij / Screenplay: Michel Ocelot Dialogi in grafična podoba / Dialogues and Graphic Design: Michel Ocelot Ozadja / Background Design: Anne-Lise Lourdelet-Koehler Glasovi / Voices: Cyril Mourali (odrasli Azur / Azur adult), Karim M’Ribah (odrasli Asmar / Asmar adult), Hiam Abbass (Jenane), Patrick Timsit (Crapoux), Fatma Ben Khell (Prin- cesa / Princess Chamsous Sabah), Rayan Mahjoub (Azur otrok/child), Abdelsselem Ben Amar (Asmar otrok/child) Glasba / Music: Gabriel Yared Zvok / Sound: Thomas Desjonqueres, Cyril Holtz Producent / Produced by: Christophe Rossignon Produkcija / Production: Nord-Ouest Production, Mac Guff Ligne, Studio O, France 3 Cinéma, Rhône Alpes Cinéma, Artemis Productions, Lucky Red, Zahorimedia, Intuition Films

77 Azur and Asmar were brought up as brothers Ottawa... Michel Ocelot was also President in a beautiful castle in the midst of the de- of the ASIFA (International Animated Film sert. Yet they were not of the same blood. Association) from 1994 to 2000. Azur was the son of a noble man, Asmar the son of the castle nurse. They enjoyed nothing Since his first professional short film, Les more than the nurse’s long and brilliantly vi- Trois Inventeurs (1979), Michel Ocelot has vid stories. Among these their favourite was written the screenplays and done the art- the story of the Djinn fairy - a magical prin- work of all his creations. In 1998, the gene- cess imprisoned inside a mountain awaiting ral public became aware of Michel Ocelot, a brave prince to come and save her. thanks to the huge box-office and critical success of his first feature film Kirikou and But one day, Azur’s father brought this fri- the Sorceress (Kirikou et la sorcière). The endship to an abrupt end. He sent his son film’s popularity was so great that it led Mi- off to the city to learn from a proper tutor. chel Ocelot to relate more of his little hero’s The years pass, but destiny brings these adventures in Kirikou and the Wild Beasts parted friends back together. And when they (Kirikou et les bêtes sauvages, 2005) which are reunited their rivalry comes to the fore. he co-directed with Bénédicte Galup. Azur & They set off on a quest to determine who Asmar, minutely prepared from 2001 on, is a will be the first to find and rescue the good project full of new experiences: Michel Oce- fairy. Yet many surprises await them on their lot worked with a live-action producer (Chri- journey. stophe Rossignon, of Nord Ouest), chose to combine 3D and 2D, and brought together Michel Ocelot was born on the French his production and animation team in Paris, Riviera and spent his childhood in Guinea his home city, the entire film being made in and his adolescence in the Anjou region Paris, unlike most other French animation of France. After studying art in France (the productions. Beaux Arts in Angers, the Ecole Nationale Supérieure des Arts Décoratifs in Paris) and Director’s Notes in the USA (California Institute of the Arts), “People have often asked me how I make he devoted his professional life to animated children’s films. My secret is that I never films. He has made about thirty shorts and make children’s films, because children are series, both for television and cinema, whi- not interested in films designed purely for ch have won numerous awards at leading them! Children need to learn about the world international festivals, among others, a CE- and discover new things. They don’t need to SAR in Paris, a BAFTA in London, first prizes stay in familiar territory or understand eve- at festivals in Zagreb, Odense, Annecy, Kiev, rything instantly. There are things which I do

78 Azur in Asmar sta kot brata preživljala otro- Akademiji lepih umetnosti v Angersu in Aka- štvo v prelepem gradu sredi puščave. Bila demiji dekorativnih umetnosti v Parizu) ter sta različne krvi. Prvi je bil sin graščaka in v ZDA (Kalifornijski inštitut za umetnosti) je drugi sin grajske varuške. Najraje sta imela svoje profesionalno življenje posvetil animi- varuškina dolga in živo pisana pripovedova- ranemu filmu. Posnel je okoli trideset kratkih nja. Najljubša od vseh pripovedi pa jima je filmov in nanizank za televizijo in veliko pla- bila zgodba o vili Djinn, ki je žalostna čaka- tno ter prejel številne nagrade na prestižnih la, da jo prijazen in pogumen princ reši iz mednarodnih festivalih, med njimi cezarja v krempljev zla. Parizu, nagrado BAFTA v Londonu, glavno nagrado na festivalih v Zagrebu, Odensi, An- Nekega dne njuno pravljično prijateljstvo pre- necyju, Kijevu, Ottawi ... Med letoma 1994 trga Azurjev oče, ki pošlje sina v mesto na šo- in 2000 je deloval tudi kot predsednik ASIFE lanje, Asmarja in njegovo mamo pa izžene iz (Mednarodne zveze za animirani film). gradu. Leta minevajo, nazadnje pa usoda spet združi nekdanja prijatelja. A ko se končno zno- Od svojega prvega profesionalnega kratko- va najdeta, se začne njuna tekmovalnost: vsak metražca Les Trois Inventeurs (1979) sam od njiju želi prvi poiskati in rešiti dobro vilo. Na ustvarja scenarije in vizualno podobo vseh poti do nje pa ju čaka polno presenečenj. svojih filmov. Leta 1998 je pozornost mednarodne publike pritegnil s svojim komer- Michel Ocelot se je rodil na francoski rivieri, cialno in kritiško uspešnim celovečernim odraščal pa v Gvineji in francoski pokrajini prvencem Kirikou in čarovnica (Kirikou et Anjou. Po študiju umetnosti v Franciji (na la sorcière). Zaradi izjemne priljubljenosti 79 not say crudely, because there are children wanted to treat a real war that had been in the audience, but I still say everything. I declared, but ordinary animosity between cannot make a film which wouldn’t interest indigenous and immigrant citizens, and to me today. I’m the first viewer of my work, push it further, at the same time, between both as an adult and a child, because I have the West and the Middle East. I had found all ages inside me!” my subject matter! A highly topical issue to be treated like a marvelous fairy tale.” “Making an animated feature film means devoting six years of your life to a subject. Michel Ocelot So it has to be worth it. The subject which was closest to my heart? On the one hand, Film Comments all those people who hate one another – sin- “Beguiling animated fable with real charm.” ce that is how they were raised – who wage (Peter Bradshaw, The Guardian) war on one another, and on the other hand, the individuals on both sides who do not toe “With its delicate, fairy-tale bones and layer the line, who respect and love one another of politically conscious muscle, Azur and despite the barbed wire fence which keeps Asmar is a sleek and yet slightly unwieldy them apart. animal.” (Michelle Orange, The Village Voice)

I considered inventing an enemy country, “Production design, credited to Anne-Lise with a fake language. What a sad idea to in- Lourdelet-Koehler, goes nuts with the invent an enemy country! What a bad idea to tricately patterned, arabesque architecture invent an artificial language – you can spot and highly stylized and detailed landsca- it, and a real language is so much more in- pes to craft a world like a lavishly printed teresting! And I thought about everyday life children's book brought to life.” in France and around the world. I no longer (Leslie Felperin, Variety)

80 filma je Michel Ocelot kmalu sklenil nadalje- ljudje, ki sovražijo drug drugega – saj so bili vati zgodbo o svojem malem junaku v filmu tako vzgojeni –, ki se med seboj vojskuje- Kirikou in divje živali (Kirikou et les bêtes jo, po drugi strani pa posamezniki na obeh sauvages, 2005) s sorežiserko Bénédicte straneh, ki drug drugega spoštujejo in ljubi- Galup. Film Azur in Asmar, ki ga je z neiz- jo, kljub bodičastim žicam, ki jih ločujejo. merno natančnostjo pripravljal od leta 2001, je prinesel vrsto novih izkušenj: Michel Oce- Razmišljal sem, da bi si izmislil sovražno lot je tu sodeloval s producentom igranih deželo in neki umeten jezik. Kako žalostna filmov (Christophe Rossignon, Nord Ouest zamisel, da bi ustvaril še izmišljenega so- Production), uporabil je 3D in 2D računalni- vražnika! Kako slaba zamisel, da bi ustvaril ško animacijo, produkcijsko in animacijsko umeten jezik, ko so resnični jeziki toliko bolj ekipo pa zbral v Parizu, svojem domačem zanimivi! Tako sem pomislil na vsakdanje mestu. Za razliko od večinske produkcije življenje v Franciji in po svetu. Nisem več že- animiranega filma v Franciji je film tako v lel upodabljati neke resnične vojne, pač pa celoti nastal v Parizu. običajna sovraštva med domačim prebival- stvom in priseljenci, ter potegniti v ospredje Izjave režiserja odnose med Zahodom in Srednjim vzhodom. “Ljudje me pogosto sprašujejo, kako ustvar- Našel sem svojo temo! Izredno aktualno pro- jam filme za otroke. Moja skrivnost je v tem, blematiko v podobi fantastične pravljice.” da nikoli ne delam otroških filmov, saj otrok ne zanimajo filmi, ki so narejeni izključ- Michel Ocelot no zanje! Otroci morajo spoznavati svet in odkrivati nove stvari. Ni jim treba ves čas O filmu so povedali bresti po znanih vodah in vsake stvari ra- “Zapeljiva animirana pripovedka z resničnim zumeti v trenutku. Nekaterih zadev res ne šarmom.” (Peter Bradshaw, The Guardian) povem brezobzirno in naravnost, ker so v “S svojim prefinjenim, pravljičnim okostjem dvorani otroci, a še vedno povem vse. Ne in politično ozaveščeno muskulaturo je Azur morem posneti filma, ki me v tem trenutku in Asmar prelepa, čeravno nekoliko počasna ne bi zanimal. Jaz sem svoj prvi gledalec, žival.” (Michelle Orange, The Village Voice) kot odrasla oseba in kot otrok, saj nosim v sebi vse starosti!” “Oblikovalka produkcije Anne-Lise Lourde- let-Koehler nebrzdano niza prepletene vzorce “Ustvariti celovečerni animirani film pomeni mavretanske arhitekture in izjemno stilizira- posvetiti šest let svojega življenja eni temi. ne ter detajlne pokrajine, da bi izklesala svet, Torej mora biti vredna tega. In tema, ki mi je podoben bogato ilustrirani otroški knjigi, ki je najbolj ležala na srcu? Po eni strani vsi tisti resnično oživela.” (Leslie Felperin, Variety)

81 Irena Weber

The Story his schooling Azur returns to his father’s ho- There once lived two boys, a blue-eyed Azur use to announce that he will set out across and a brown-eyed Asmar, both nursed by the sea and free the captured Djinn Fairy. Asmar’s mother, a Saracen Jenane, servant Shipwrecked, he is left with nothing and in the house of Azur’s father, a nobleman. must first face the harsh environment, be- Along with her milk the children soaked up fore coincidence reunites him with no other lullabies and stories of a land beyond the than Jenane. Meanwhile, she has become sea, where the sun always shines and the a prosperous merchant, and Asmar a mem- scent of jasmine lingers over little white ber of the Royal Guard. Now Azur and Asmar houses with painted blue doors. Most of all become rivals, setting out on a quest to free they loved the story of the Djinn Fairy, impri- the Djinn Fairy, armed with Jenane’s money soned in a glass cupola inside a black mo- and wise words of advice from Princess untain, awaiting a brave prince to come and Chamsous Sabah and Wise Man Yadoa. As rescue her. The prince must first find three heroes usually do, they to encounter many magic keys, overcome a series of trials, be- trials and obstacles on their quest, in which fore choosing the right door through which their childhood ties will play a decisive role. he can enter the chamber of light and free the Djinn Fairy. Jenane has always treated The Background the two boys equally, has cut them equal The film developed over the span of six ye- pieces of delicious treats with love and af- ars is a luxuriant, minutely manufactured fection, and tucked them into their beds in and original fantasy tale, greatly inspired by their shared little room. Azur’s father, disa- Islamic art and tradition. The story is loosely pproving of such egalitarian treatment, first set in the Middle Ages of the 15th and 16th moved his son into a larger room. Then he centuries in Europe and the Maghreb (Moro- donned him in noble clothes and hired tutors cco, Tunisia, Algeria). However, the time pe- to teach him. Because this did not deter Azur riod, locations and cultural elements are su- from spending time with Asmar, the father bjected to the author’s distinctive aesthetics sent him away for schooling, before he co- and eclecticism, in his own words: “I collect uld part with Jenane and Asmar, merciles- my ideas from all corners of the earth.” The sly throwing the two out of his house with idea of a nurse emerged, when on a radio he nothing but the clothes on their backs. After heard a true story about an Englishman who

82 Irena Weber

Zgodba preden je, po srečnem naključju, ponovno Nekoč sta živela dva dečka, modrooki Azur našel Jenan. Ta je medtem postala premo- in rjavooki Asmar. Oba je dojila Asmarjeva žna trgovka, Asmar pa član kraljeve straže. mati, Saracenka Jenan, služabnica v hiši ve- Azur in Asmar, zdaj tekmeca, se z Jenani- ljaka, Azurjevega očeta. Hkrati z mlekom sta nim denarjem in z nasveti princese Šamsus dečka vpijala uspavanke in zgodbe iz dežele Sabah in judovskega modreca podata na na drugi strani morja, kjer vedno sije sonce odpravo za osvoboditev vile malih duhov. in vonj jasmina plava nad belimi hišami z Na poti ju, kot je običajno za junake, čakajo modrimi vrati. Še posebej ljuba jima je bila preizkušnje, pri katerih bodo odločilno vlogo zgodba o ujeti vili malih duhov, ki v stekleni odigrale njune vezi iz otroštva. kupoli v črni gori čaka na princa, da jo nekoč odreši. Princ mora najprej poiskati tri čarob- Ozadje ne ključe, prestati vrsto preizkušenj, preden Film, ki je nastajal šest let, je razkošna, skozi pravilno izbrana vrata lahko vstopi v minuciozno izdelana, izvirna fantazijska dvorano svetlobe in vilo osvobodi. Jenan je pripovedka. Navdih črpa predvsem iz izro- z obema dečkoma ravnala enako, jima z lju- čila in umetnosti islama. Okvirno je zgodba beznijo rezala enake kose dobrot in ju zvečer postavljena v srednji vek 15. in 16. stoletja pokrivala v skupni kamrici. Azurjev oče, ne- v Evropi in Magrebu (Maroko, Tunizija, Alži- zadovoljen s takšnim egalitarnim položajem, rija), vendar se čas, lokacija in kulturni ele- je sina najprej preselil v veliko sobo. Nato menti podrejajo prepoznavni avtorjevi este- ga je odel v gosposka oblačila in mu najel tiki in eklekticizmu, ali kot pravi avtor sam: učitelje. Ker ga to ni odvrnilo od druženja z “Ideje zbiram z vseh vetrov.” Idejo o dojilji je Asmarjem, ga je poslal na šolanje, ne da bi dobil, ko je na radiu slišal resnično zgodbo se lahko poslovil od Jenan in Asmarja. Nato Angleža, ki je po tridesetih letih znova našel je mater in sina brez milosti spodil in morala svojo dojiljo v Libanonu. sta oditi le v obleki, ki sta jo imela na sebi. Po končanem šolanju se je Azur vrnil v oče- V začetnem delu, ki se dogaja v Evropi, lah- tovo hišo in mu sporočil, da se bo odpravil ko v dojiljini sobi vidimo okno, za katerim je čez morje in osvobodil vilo malih duhov. Po značilna krajinska slika Francije 15. stoletja, brodolomu je Azur ostal brez vsega in se je medtem ko so nekatere podrobnosti na po- moral najprej soočiti z neprijaznim okoljem, sestvu, predvsem pa očetova oblačila, izpo-

83 Irena Weber had found his childhood nurse in Lebanon Michel Ocelot opted for the subject of into- after thirty years. lerance, intercultural tensions and conflicts, and the destinies of individuals who manage In the beginning, which is set in Europe, to overcome these. The choice of the Mag- we can see a typical 15th century French hreb is not coincidental, since it presents an landscape behind a window in the nurse’s important part of the French colonial past, quarters, while some details of the estate, and at the same time there is a substantial and especially the father’s clothing derive community of immigrants coming from the from the Flemish art of Jan Van Eyck. Maghreb living in contemporary France.

The historical frame relates to factual Mu- The choice of languages also holds signifi- slim (and Jewish) exiles from the European cant meaning for the film’s expressive value. South at the end of the 15th century. Muslims In addition to French, the standard Arabic – and Jews fled from the Catholic Reconquista not subtitled or dubbed - is given equal re- into various parts of the Mediterranean. The presentation. It was the author’s intention to Islamic countries of North Africa welcomed put the viewer into the position of a migrant, them with open arms. In the film this exile is who does not understand the language of individualized and personified by the Muslim the foreign country. Despite this, the mea- Jenane and the Jewish Wise Man, the tea- ning of each scene can be discerned from cher of Princess Chamsous Sabah. its context, and at times the narration even unfolds simultaneously (as in the case of the The film is mostly set in the familiar landsca- Djinns’ lullaby, where each verse is sung in pe of North Africa, but it also carries Islamic both languages). traits from Andalusia, Lebanon and Turkey. The Blue Mosque of Istanbul for example Essential Topics serves as a model for the film’s closing Foreignness/Migrations scene. Many decorative elements derive Migrations are as old as the human race and from the rich Persian heritage (such as the always present a current issue. Migrations of protagonist’s clothing, the design of gardens, individuals and groups reflect the processes the mythological bird Simurgh, a benevolent of social change and concrete historical si- mediator between the Earth and the Sky). tuations. The author is himself familiar with the experience of migration, since during his Apart from the fairytale, mythological dimen- childhood the family left the French Riviera sion, the film touches upon some of the eter- and moved to West Africa, only to return la- nal and contemporary issues. After the great ter to the Anjou region, which he, a teenager success of his animated films about Kirikou found harsh and ugly. As we have mentio-

84 Irena Weber sojeni iz flamske umetnosti Jana Van Eycka. vredno nastopa standardni arabski jezik, ki ni podnaslovljen ali sinhroniziran. Avtor je na Zgodovinski okvir se dotika dejanskih mu- ta način želel gledalca postaviti v vlogo mi- slimanskih (pa tudi judovskih) pregnancev granta, ki v tuji deželi jezika ne razume. Kljub z juga Evrope konec 15. stoletja. Muslimani temu je mogoče pomene prizorov razbrati iz in Judje so bežali pred katoliško rekonkvisto konteksta, včasih pa besedilo celo poteka v različne dele Mediterana. Islamske dežele vzporedno (kot na primer uspavanka malih severne Afrike so jih še posebej gostoljubno duhov, ki vsak verz pojeta v obeh jezikih). sprejele. V filmu je ta izgon individualiziran, poosebljata ga muslimanka Jenan in judovski Ključne teme modrec, učitelj princese Šamsus Sabah. Tujstvo / migracije Večji del filma je postavljen v prepoznavno Migracije so stare kot človeštvo in hkrati krajino severne Afrike, vendar v njej najde- vedno aktualne. Selitve posameznikov in mo tudi islamske poteze iz Andaluzije, Liba- skupin odražajo procese družbenih spre- nona in Turčije. Vzorčni model za zaključni memb in situacij v konkretnem zgodo- prizor, na primer, je modra mošeja iz Istan- vinskem okviru. Avtorju filma je izkušnja bula. Mnogi dekorativni elementi so vzeti migracije blizu, saj se je v otroških letih s iz bogate perzijske dediščine (npr. oblačila starši s francoske riviere preselil v zahodno glavnih junakov, zasnova vrta, mitološka Afriko, po vrnitvi pa v pokrajino Anjou, ki perzijska ptica Simurg, dobronamerna pose mu je, z najstniškimi očmi, zdela grda. srednica med nebom in zemljo). Kot že rečeno je filmski kontekst srednje- veški in se dotika neprostovoljnih migracij Poleg pravljične, mitološke dimenzije, film z juga Evrope v Magreb. Tematika tujstva odpira nekatera večna in sodobna vpraša- je predstavljena z dveh strani. Najprej sta nja. Po velikem uspehu animiranega filma tujca Jenan in Asmar (čeprav rojen v Evropi Kirikou se je Ocelot odločil za temo nestr- – tujci smo vedno lahko tudi v svoji rojstni pnosti, medkulturnih napetosti in konfliktov deželi). Ko prečka morje, pa postane tujec ter usod posameznikov, ki vse to uspejo presegati. Izbira Magreba ni naključna, saj Azur. Vloga in položaj tujca sta v mnogih predstavlja del francoske kolonialne prete- kulturah ambivalentna. Po eni strani tujec klosti, hkrati pa ima sodobna Francija veliko prinaša novosti in dobrobiti, po drugi pred- magrebsko imigrantsko skupnost. stavlja potencialno nevarnost, zato imajo družbe običajno razdelane obredne po- Izjemnega pomena za sporočilnost filma je stopke vključevanja / izključevanja tujcev. tudi izbira jezikov. Poleg francoskega enako- S tem so povezani tudi obredi gostoljubja.

85 Irena Weber ned, the context of the film is medieval, re- ured eyes with scorn and contempt, while flecting on involuntary migrations from the he himself believes that a black cat brings European South to the Maghreb. The topic of bad luck. foreignness is presented from two perspectives. At first the foreigners are Jenane and An exemplum of cultural breadth can be fo- Asmar (despite being born in Europe – we und in Jenane, who says: “I know two lan- can always be strangers on our native soil guages, two countries, two faiths, and while as well). And once Azur crosses the sea, he others engage in superstition, I recognize becomes the foreigner. the opportunity and gain from it.”

The role and status of foreigners are in Selected aspects of Islamic culture many cultures ambivalent. On the one hand, the stranger brings novelties and benefits, Medina (City in Arabic) on the other he presents a potential danger, “It is the tiniest door; you need to bow your which is why societies usually devise ritua- head to enter. They stand at the entrance to lized proceedings for the inclusion/exclusi- medina and are linked to the door used on on of strangers. These are also connected to the opposite end as an exit. Actually, both the rituals of hospitality. doors could serve as an entrance. It all depends on where we are coming from; it is Ethnic Stereotypes and (In)Tolerance quite useful to know that each story has an “My heroes aren’t tolerant, but they are lu- exit and an entrance.” The stories master- cid”, says Michel Ocelot. This lucidity enables fully weaved by the Moroccan writer Tahar them to transcend their bias and intoleran- Ben Jelloun conjure the markets of “magical ce. As children Azur and Asmar quarrel in a djellabas with fifteen pockets”, street story- typical childish manner as to who is more tellers who carry on their calling in the pre- handsome and stronger, but also tease each sent as they have in the past. In the film the other about whose country is more beautiful. entrance to medina is actually the entrance to a colourful, rattling, fragrant world in stri- Ethnic stereotypes and prejudices are per- king contrast with the glum stony desert in sonified by the character Crapoux, who which Azur finds himself. In medina he dis- has nothing good to say about the country to which he arrived twenty years ago (in covers the second magic key and of course search of the Djinn Fairy). On the contrary, Jenane, her luxurious house (modeled on he describes all its aspects as bad, ugly or Alhambra in Andalusia) and her “Garden of foolish, although his survival depends on the Eden”. The design of these Paradise Gardens goodness of local inhabitants. He describes derive from Persia and reflects the spiritual the prejudice/superstition about blue-colo- world of Islam, which uses complex geome- 86 Irena Weber

Etnični stereotipi in (ne)strpnost plete maroški pisatelj Tahar Ben Jelloun, “Moji junaki niso tolerantni, so pa luci- nam pričarajo trge “čarobnih dželab s pet- dni,” pravi avtor. Lucidnost jim omogoča, najstimi žepi”, ulične pripovedovalce zgodb, da presežejo svojo pristranskost in nestr- ki v sodobnosti še naprej opravljajo svoje pnost. V otroštvu se Azur in Asmar značil- poslanstvo kot nekoč. V filmu je vstop v me- no otroško prepirata o tem, kdo je lepši, dino dejansko vstop v barviti, žvenketajoči, kdo močnejši, a se zbadata tudi o tem, dišeči svet, v popolnem nasprotju z žalobno čigava dežela je lepša. kamnito puščavo, kamor je naplavljen Azur. V medini Azur najde drugi čarobni ključ in Etnične stereotipe in predsodke je avtor seveda Jenan, njeno razkošno hišo (ki se zgostil predvsem v osebi Crapouxa, ki o de- zgleduje po Alhambri iz Andaluzije) in njen želi, v katero je prišel pred dvajsetimi leti (da “rajski vrt”. Zasnova “rajskih vrtov” izhaja bi našel vilo malih duhov), ne ve povedati iz Perzije in odraža islamski duhovni svet, nič dobrega. Ravno nasprotno. Vse stvari ki poskuša z razdelanimi geometrijskimi opisuje kot slabe, grde ali neumne, čeprav vzorci, vodnimi elementi in vegetacijo raz- dejansko živi od dobrote lokalnih ljudi. Pred- rešiti paradoks reprezentacije večnega v sodek / vraževerje o modrih očeh opisuje z snovnem. Vrtovi opozarjajo tudi na poseben zaničevanjem, medtem ko verjame, da črna odnos do vode, ki je v puščavskih predelih mačka v resnici prinaša nesrečo. primanjkuje.

Zgled kulturne širine je Jenan, ki pravi: Jenan na vrtu Azurja ponosno pogosti z izbra- “Poznam dva jezika, dve deželi, dve veri, in nimi jedmi, od katerih je morda najbolj tipičen medtem ko se drugi ukvarjajo z vražever- slavnostni kuskus, jed berberskega izvora. jem, prepoznam priložnosti in pridobim.” Kulinarika severne Afrike je izjemno bogata in raznolika – združuje različne tradicije, ber- Izbrani vidiki islamske kulture bersko, arabsko, judovsko, evropsko.

Medina (arab. mesto) Medina je predstavljena tudi kot prostor zna- “To so čisto majcena vrata; pri prehodu se je nja in vladanja. Princesa Šamsus Sabah se treba skloniti. Stojijo na vhodu v medino in uči grščine in hebrejščine, v palači ima velik so povezana s tistimi, ki jih na nasprotnem observatorij, kar opozarja na srednjeveško koncu uporabljajo kot izhod. Pravzaprav bi razvitost arabske astronomije in matemati- bila oboja vrata lahko vhod. Vse je odvisno ke. Ko se zvečer na skrivaj odtihotapi iz pa- od tega, od kod prihajamo; zelo pripravno je lače, Azurju pokaže svoje mesto, z mošejo, vedeti, da v vsaki zgodbi obstajajo vhodna krščansko cerkvijo, sinagogo, medreso, po- in izhodna vrata.” Zgodbe, ki jih mojstrsko potnim prenočiščem in zdraviliščem.

87 Irena Weber tric patterns, water elements and vegetation this is her son from the other side of the sea. to solve the paradox of representing eternity And so she says to Asmar who doesn’t reco- through materiality. The gardens also draw gnize him: “This s your brother.” When Azur attention to a special relationship towards visits the Wise Man, he greats him ”Welco- water, scarce in the desert regions. me Azur, the son of Jenane,” which demon- strates that he is accepted as such by the In the garden Jenane regales Azur with broader community. exquisite dishes, including the most typical of them - a special couscous, a dish of Status of Women Berber origin. North Africa’s culinary art is Contrary to contemporary media represen- extremely rich and colourful – combining tation of absolute oppression, Michel Ocelot various traditions, Berber, Arabian, Jewish vests his female characters with power, in- and European. fluence and the freedom of choice. Jenane is strong, capable, inventive. The Princess Medina also represents a realm of knowledge is educated and wise. However, they are and reign. Princess Chamsous Sabah learns both subject to the cultural rules of space Greek and Hebrew, her palace stores a large segregation – their space is private, not pu- observatory, evoking the level of medieval blic. When the Princess escapes the palace Arab astronomy and mathematics. When the at night, Jenane looks to it that she returns night falls and she secretly steals away from without being noticed. the palace, she shows Azur her city and its mosque, a Christian church, a synagogue, a Even the Fairy, stereotypically awaiting her Madrasah, a travelers’ inn and a spa. Prince, decides for herself which Prince will be her saviour. Kinship In addition to consanguinity Arab cultures Music also recognize milk kinship. Because Jena- The music is an original score by the renowned ne nursed both boys, they are milk brothers film composer of French-Lebanese origin Ga- according to Arab categorization. While in briel Yareda, intertwining elements of European and Arab medieval music in simple melodies Europe, where such kinship is not accepted, and complex symphonies. Even before the ope- Jenane teaches Azur to call her “nurse”. But ning scene the film establishes the repetitive as soon as he steps over the threshold of her motif of an Arab lullaby, which serves as a me- house “across the sea” she calls him “son”. ans by which the adult Azur finally convinces his She even tells the residents of medina that nurse that he is truly not an imposter.

88 Irena Weber

Sorodstvo zatiranja, dodelil moč, vpliv in svobodo iz- V arabskih kulturah poleg krvnega poznajo bire. Jenan je močna, sposobna, iznajdljiva. tudi mlečno sorodstvo. Ker je Jenan dojila Princesa je izobražena in modra. Obe pa sta oba fanta, sta po arabskem razumevanju podrejeni kulturnim zapovedim segregacije brata po mleku. Dokler so v Evropi, ki ta- prostora – njun prostor je zasebni, ne javni. kšnega sorodstvenega razmerja ne prizna, Ko princesa zvečer pobegne iz palače, Jenan Jenan Azurja uči, da jo kliče “dojilja”. Takoj poskrbi, da se tja vrne, ne da bi jo zalotili. ko se Azur znajde v njeni hiši “na drugi strani morja”, ga naslovi s sinom. Tudi prebival- Celo vila, stereotipno čakajoča na princa, se cem medine pove, da je to njen sin z druge sama odloča, kateri princ jo bo osvobodil. strani morja, Asmarju, ki ga ne prepozna, pa pravi: “To je tvoj brat.” Ko Azur obišče judo- Glasba vskega modreca, ga ta pozdravi z besedami: Glasba v filmu je izvirno delo priznanega “Pozdravljen Azur, Jenanin sin,” kar pomeni, filmskega skladatelja francosko-libanon- da ga kot takega sprejema širša skupnost. skega porekla Gabriela Yareda, ki od preproste melodije do kompleksne simfonične Položaj žensk glasbe prepleta elemente evropske in arab- Ocelot je ženskim likom v filmu, v nasprotju s ske srednjeveške glasbe. Film še pred prvim sodobno medijsko reprezentacijo popolnega prizorom vpelje ponavljajoči se motiv arab- 89 Irena Weber

In certain scene traditional instruments can ves from Sub-Saharan Africa or inhabitants also be seen, not only heard. At the entrance of the Sahel who traveled in caravans and to medina a girl, accompanied by an Arabic maintained ancient merchant ties with the reed flute nay, sings a medieval Arab tune. Maghreb. In Morocco Gnavas also engage In Jenane’s garden servants play the dara- in healing rituals in which they use music buko, rebab, oud and nay. and dance, colours and fragrances to sum- mon the ghosts of their ancestors who help The darabuka is a drum, most often made of them heal others. With the popularization of clay, sometimes metallic, with skin stretched ethnic music within the framework of World over the rim, its shape resembling a vase. Music, their sounds have traveled the world, The rebab is a string instrument with three while they regularly perform in Morocco. strings. It was especially popular in Europe in 15th and 16th century under the name rebec. In the closing scene European music trans- forms into Oriental in an instant, as one of the The oud is probably the most popular Arab Djinns waves his little instrument. Characters musical instrument and can have a different move in pairs from a rigid dance line into a number of strings - nine, eleven or thirteen group centre in oriental dance movements. (four, five or six pairs and one single string). The reed flute nay is one of the oldest instru- Relevance to School Curricula ments which are still in use. Illustrations of The subject of the film can be meaningful- the flute can be found in Egyptian pyramids ly linked with environmental, art and music and on Persian miniatures. The name origi- education in the first triennium, adding hi- nates from the Persian word for “reeds”. story, geography, sociology and ethics in the second and third trienniums. In its broadest In medina Azur and Crapoux also listen to the sense it belongs in tolerance education. It Gnavas, musicians creating hypnotic sounds also offers a chance to glance at contem- with their instruments, voices and dancing. porary phenomena and dilemmas from a The Gnavas are descendants of former sla- different perspective.

Irena weber, phd Department of Ethnology and Cultural Antropology, Faculty of Arts, University of Ljubljana

90 Irena Weber ske uspavanke, ki je tudi sredstvo, s pomo- in plesom izvajajo hipnotično glasbo. Gnavi čjo katerega odrasli Azur dokončno prepriča so potomci bivših sužnjev iz podsaharske dojiljo, da je pravi Azur in ne vsiljivec. Afrike ali sahelskih prebivalcev, ki so poto- vali s karavanami in imeli starodavne trgo- V nekaterih prizorih lahko tradicionalne in- vske vezi z Magrebom. V Maroku se Gnavi štrumente tudi vidimo, ne le slišimo. Pred ukvarjajo tudi z zdravilnimi rituali, v katerih vhodom v medino dekle, ob spremljavi tr- z glasbo in plesom, z uporabo barv in dišav stne piščali naj, poje arabsko srednjeveško kličejo duhove prednikov, ki pomagajo pri pesem. Na Jenaninem vrtu služabniki igra- zdravljenju. Njihova glasba je, s populari- jo na darabuko, rebab, ud in naj. zacijo etnične glasbe v okviru World Music, Darabuka je boben, največkrat izdelan iz postala znana po vsem svetu, v Maroku pa gline, včasih tudi iz kovine, prek oboda ima redno izvajajo festivale. napeto kožo, njegova oblika pa spominja na vazo. Rebab je godalo s tremi strunami. V zaključnem prizoru se glasba iz evrop- V Evropi je bil, v izpeljani obliki pod ime- ske v hipu spremeni v orientalno, ko eden nom rebek, še posebej priljubljen v 15. in izmed malih duhov zamahne z inštrument- 16. stoletju. kom. Liki se iz toge plesne črte v parih pomaknejo proti skupnemu središču z gibi Ud je verjetno najbolj popularno arabsko orientalnega plesa. glasbilo in ima lahko različno število strun, devet, enajst ali trinajst (štiri, pet ali šest Navezava na učne načrte parov strun in eno samostojno). Trstna pi- Tematika filma se smiselno navezuje pred- ščal naj je eno najstarejših glasbil, ki je še v vsem na pouk okolja, glasbe, likovnega uporabi, njegovo upodobitev najdemo že v egipčanskih piramidah, pogosta je tudi na pouka v prvi triadi, v drugih dveh še na perzijskih miniaturah. Ime izhaja iz perzij- zgodovino, geografijo, sociologijo in etiko. ske besede za “trstje”. V najširšem pogledu sodi v vzgojo za tole- ranco. Ponuja tudi priložnost, da na sodobne V medini Azur in Crapoux poslušata tudi pojave in dileme pogledamo z drugačnega Gnave, glasbenike, ki z inštrumenti, glasovi zornega kota.

dr. Irena weber Oddelek za etnologijo in kulturno antropologijo, Filozofska fakulteta Univerze v Ljubljani

91 Why is the Dog Chasing the Rabbit? The authors whish to foster and pass on the Nebo Puppet Theatre tradition of folk story-telling, and enrich this tradition with the use of the puppet medium. Nebo Puppet Theatre’s newest performance is an adaptation of the story Why is the Dog Cha- Directed by: Ksenija Ponikvar, Dramaturgy: sing the Rabbit. In a fairy-tale manner it expla- Petra Stare, Graphic Design: Andrej Štular, Mu- ins the nature of the relationship between a dog sic: Peter Kus, Costume Design: Maja Peterlin, and a rabbit, a trained “man’s best friend” and a Advisor: Špela Stres, Performed by: Lutkovno wild animal. As in all animal fairy-tales, here also gledališče Nebo, Production: Forum Ljubljana, we can discover a parallel with human qualities, Co-production: Mini teater. interpersonal relationships and conflicts. www.ljudmila.org/nebo/o.htm

Papelito Puppet Theatre Brane Solce

Papelito is a special kind of tiny, traveling, paper theatre, which offers infinite magical metamorphoses, thus expanding a child’s imagination. The performance of paper puppets is accompanied by sounds and music, making the experience stronger and fuller.

The performance is in a way a prelude to the workshop, during which the creator of this paper theatre will take the children on a journey of inventing their very own paper stories. www.papelito.net/medium.html

Star Wars VII tion. The boys possess a virtue which is their Josip Plemelj Primary School in Bled belief in the medium – the puppet. Each of their performances is something special, since they The authors of Star Wars VII are Luka, Grega, know how to play with puppet in a way real Niko and Sašo from Josip Plemelj Primary puppeteers do. School in Bled. They have invented a story, which was adapted into text by their mentor It is a story about little Ram, discontent with his Elizabeta Žnidaršič. Under the mentorship of parents because they are not great conquerors The Elephant Educational Programme they over the Dark Forces. He takes flight rebelliou- independently manufactured the puppets and sly and meets the Dark Forces himself, defea- the animated part of the show. They reaped the ting them with the help of his friends and his laurels at Saša Kump's regional competition in lack of fear. Kranj, and classified for the national competi-

92 Zakaj teče pes za zajcem? Lutkovno gledališče Nebo Najnovejša predstava Lutkovnega gledališča Nebo obravnava pripovedko Zakaj teče pes za zajcem. V njej je na pravljičen način razložena narava odnosa med psom in zajcem, med dre- siranim “človekovim najboljšim prijateljem” in divjo živaljo. Kot vselej pri živalskih pravljicah Režija: Ksenija Ponikvar, Dramaturgija: Petra lahko tudi v tej najdemo vzporednico s človeški- Stare, Likovna podoba: Andrej Štular, Glasba: mi lastnostmi, medsebojnimi odnosi in konflikti. Peter Kus, Kostumografija: Maja Peterlin, Sve- tovanje: Špela Stres, Izvedba: Lutkovno gledali- Namen ustvarjalcev je negovanje in prenašanje šče Nebo, Produkcija: Forum Ljubljana, Kopro- tradicije ljudskega pripovedništva in obogatitev dukcija: Mini teater. le-tega skozi lutkovni medij. www.ljudmila.org/nebo/o.htm

Gledališče Papelito Brane Solce Papelito je čisto posebna vrsta majčkenega, Predstava je na neki način tudi uvod v delav- potujočega, papirnatega gledališča, ki ponuja nico, ki bo pod vodstvom avtorja papirnatega neskončne čarobne metamorfoze in s tem raz- gledališča popeljala otroke v izvedbo čisto svo- prostira otrokovo domišljijo. Igro papirnih lutk jih papirnatih zgodb. spremljajo zvoki in glasba, kar ji daje še posebno doživljajsko moč. www.papelito.net/medium.html

Vojna Zvezd VII OŠ prof. dr. Josipa Plemlja Bled Vojna zvezd VII je avtorsko delo štirih fantov – Luka, Grega, Nika in Saša z OŠ prof. dr. Josipa Plemlja na Bledu. Izmislili so si zgodbo, ki jo je v besedilo predelala mentorica Elizabeta Žni- daršič. Sami so naredili lutke in tudi animirani del predstave, z mentorsko pomočjo Vzgojno- izobraževalnega programa Slon. S predstavo so uspešno nastopili na regijskem srečanju Saše Kumpa v Kranju in se uvrstili na republiško sre- Zgodba govori o malem Ramu, ki je nezadovo- čanje. Fante odlikuje verjetje v medij – lutko, ljen, ker starša nista velika zmagovalca boja s vsaka njihova predstava je nekaj posebnega, Temno silo. Uporniško se poda v beg, kjer sreča saj se z lutko znajo poigravati, tako kot se mora Temno silo ter jo s pomočjo prijateljev in z odpravi lutkar. sotnostjo strahu premaga.

93 94 95 The purpose of The Elephant Educational discourse on education in animation film, Animation Film Programme is to create an and to encourage and support its indepen- opportunity and possibility for education wi- dent production. thin the sphere of animation for all ages and on two levels – the level of content analysis To bring the art of animation closer to chil- and the technological level, as well as to dren, The Elephant educational programme explore the needs and possibilities pertain- organizes a diverse plethora of activities for ing to Slovenia, to establish an international schools and other educational institutions.

Animation Film Workshops

1. How We See Animated Films, 45' Recommended for children aged 3 - 10. The workshop “How We See Animated Films” gives as an opportunity to get to know the heroes and heroines of selected animation films in detail. We will discover their vices and virtues, their friends and relatives… We will talk about them, and try to draw or paint them ourselves. The workshop is recommended also with The Elephant programmes I and II. 2. An Introduction to Optical Toys, 45' Recommended for children aged 3 - 10. How do we even perceive a moving image and how was it understood in a time long forgotten… During one school hour we will discover the world of optical toys and even make some ourselves. The workshop is recommended also with The Elephant programmes I and II. 3. From Drawings to an Animated Cartoon, min. 5 school hours Recommended for children aged 9 and above. “From Drawings to an Animated Cartoon” workshop brings animation film closer to children also from the technical aspect. Over the span of at least five school hours we will create a short animation, using drawings, stop motion and mixed techniques. For expanded study programmes we offer computer animation as well.

The workshop is recommended also with The Elephant programmes III and IV.

96 Namen Vzgojno-izobraževalnega programa ji in izobraževanju o animiranem filmu ter animiranega filma Slon je poskrbeti za mo- spodbujati njegovo neodvisno produkcijo. žnost izobraževanja na področju animiranega filma v vseh življenjskih obdobjih in na dveh Da bi otrokom približali umetnost animira- ravneh – vsebinsko-analitični in tehnološki, nega filma, Vzgojno-izobraževalni program ter preučiti potrebe in možnosti v slovenskem Slon prireja za šole in druge vzgojno-izobra- okolju, osnovati mednarodni diskurz o vzgo- ževalne institucije različne aktivnosti.

Delavnice animiranega filma

1. Kako vidimo animirani film, 45 minut Priporočamo za otroke v starosti od 3 do 10 let. V delavnici “Kako vidimo animirani film” bomo junake gledanih animacij podrobneje spoznali. Seznanili se bomo z njihovimi dobrimi in slabimi lastnostmi, njihovimi prijatelji, sorodniki ... se o njih pogovarjali in jih poskušali narisati ali naslikati. Delavnico priporočamo tudi ob projekcijah otroškega programa Slon I in Slon II.

2. Spoznavanje optičnih igrač, 45 minut Priporočamo za otroke v starosti od 3 do 10 let. Kako sploh dojemamo gibljivo sliko in kako so jo dojemali v davnih časih ... V eni šolski uri se bomo seznanili z optičnimi igračami in jih tudi sami izdelali. Delavnico priporočamo tudi ob projekcijah otroškega programa Slon I in Slon II.

3. Od risbe do risanke, 5 šolskih ur Priporočamo za otroke v starosti od 9. leta. Delavnica “Od risbe do risanke” približa animirani film otrokom tudi s tehničnega vidika. V vsaj petih šolskih urah bomo izdelali kratko animacijo v risani, stop-motion ali mešani tehniki. Za daljše učne sklope pa ponujamo tudi računalniško animacijo. Delavnico priporočamo tudi ob projekcijah otroškega programa Slon III in Slon IV.

97 Screenings of Short Animation Films and Discussions

The Colourful Elephant Year-Round Screenings of Short Animati- on Films and Discussions Project consists of selected screenings of animation films, which we offer to schools and other educational institutions in collaboration with Kinodvor, the Ljubljana city cinema. On demand we can bring The Colourful Elephant closer to those schools which are situated outside the city of Ljubljana. The screenings are accompanied by guided discussions with experienced mentors.

The Yellow Elephant The Red Elephant Animated shorts programme Animated shorts programme for children aged 3 - 6. for children aged 6 - 11. This carefully selected programme of The Red Elephant takes children from the short animated films transports the chil- first and second trienniums of elementa- dren into a magical world of animals, ry school on a magical journey of extra- plants, objects and unusual creatures, ordinary storytelling. We will discover the which they seldom come upon on their lives and adventures of various prota- TV screens. The 30 minute screening is gonists. We will prepare the children for accompanied by introductory talks by their 40 minutes of attentive observing experienced mentors, which facilitate a of animated images with introductory more profound and discerning observa- discussions and talks by experienced tion of the portrayed content. mentors.

We can provide adjusted teaching programmes according to particular school needs and in- terests, and prepare curricula ranging from one month, to one semester or the entire school year. The works produced at our workshops are published on the website of Animateka Inter- national Animation Film Festival. 98 projekcije animiranih filmov in pogovori

Pisani Slon projekcije kratkih animiranih filmov s pogovori

Pisani Slon je projekt, ki zajema izbrane projekcije animiranih filmov in jih v sodelovanju z ljubljanskim Kinodvorom ponujamo šolam ter drugim vzgojno-izobraže- valnim institucijam. Šolam izven Ljubljane pa lahko po dogovoru pripeljemo Pisani Slon bližje. Projekcije spremljajo vodeni pogovori izkušenih mentorjev.

rumeni Slon rdeči Slon projekcije kratkih animiranih filmov za projekcije kratkih animiranih filmov za otroke od 3 – 6 leta otroke od 6 – 11 leta Skrbno izbrani program kratkih animira- Rdeči Slon odpelje otroke prve in druge nih filmov popelje otroke v čarobni svet triade osnovne šole v magično pripoved živali, rastlin, predmetov in nenavadnih nenavadnih zgodb. Spoznali bomo življe- bitij, ki jih na malih zaslonih navadno ne nje različnih junakov in njihove prigode. srečajo. Gre za 30 minutno projekcijo, ki V 40 minut intenzivnega spremljanja ani- jo spremljajo uvodni pogovori izkušenih miranih podob bomo otroke pospremili z mentorjev, to pa otroku omogoča poglo- uvodnimi pogovori izkušenih mentorjev. bljeno spremljanje prikazanih vsebin.

Po dogovoru lahko učne programe prilagodimo potrebam in interesu šole ter pripravimo daljši mesečni, polletni ali celoletni učni načrt oziroma program animiranega filma. Rezultati delavnic se objavijo na spletni strani Festivala Animateka.

Pedagoško gradivo za starše in učitelje II, izdelava animiranega filma in vsebinska analiza programa Slon 2007 najdete na spletni strani www.animateka.si. 99 100 101 Informacije in rezervacije delavnic ter filmskih projekcij Information, workshop registration and film tickets booking

Društvo za oživljanje zgodbe 2 koluta Two Reels - Association for the Reanimation of Storytelling Neubergerjeva 16, 1000 Ljubljana, Slovenia Hana Repše, [email protected], 051 874 845, www.animateka.si