![]() ![]() My brother David Morton read many drafts. Crnković, the chair of my committee, read an early draft of this particular article. Gordana Crnković, Jennifer Bean, and José Alaniz read the dissertation upon which this article is based. Kirsten Moana Thompson wrote me a long email concerning the adhesive qualities of paints used in cel animation. While in Budapest, I received help from Tamás Bőhm, Huba Brückner, Szilvia Fináli, Anna Ida Orosz, Márton Orosz, and Katalin Szlaukó. Some of that research appears in this paper. In 2007–2008, I enjoyed a Fulbright fellowship in Hungary, where I researched Pannonia Film. ![]() Borivoj Dovnikovć, Joško Marušić, Pavao Štalter, Krešimir Zimonić, and the late Zlatko Bourek and Vatroslav Mimica were wonderful interview subjects. I thank also Margit Atenauer, Igor Bezinović, Tomislav Domes, Vesna Dovniković, Bojan Krištofić, Veljko Krulčić, Kristina Nosković, Luka Ostojić, Ivana Pipal, Marijana Rimanić, and Daniel Šuljić. I thank film scholars and researchers who gave me invaluable advice during my work in Zagreb: Nikica Gilić, Darko Masnec, Daniel Rafaelić, Leon Rizmaul, and Hrvoje Turković. I thank also Vinko Brešan, Tomislav Gregl, Ibrahim Hromalić, and Julia Martinović, all of Zagreb Film. Daria Blažević and Nikolina Bogdanović also assisted in interviews. She also arranged and, in some cases, assisted in several interviews with surviving members of the Zagreb School. Sanja Borčić of Zagreb Film arranged for me to receive hundreds of films currently out of distribution for my research. ![]() The paper places the Zagreb School in this historical context with a formalist analysis of Boris Kolar's Bumerang (Boomerang, 1962). Its approach to the animation medium is adjacent to the two most important features of Yugoslavia's Third Way experiment: the development of workers’ self-management and a commitment to internationalism. This paper argues that the Zagreb School, which was made up neither of dissidents nor propagandists, breaks many of the stereotypes about artists in the dictatorial states of central and eastern Europe. This paper studies the early development of the Zagreb School and the films that satirized the universal concerns of the post-World War II landscape: industrialization, militarism, environmentalism, nuclear annihilation, and urban alienation, as well as the conforming pressures of commercialization and mass culture. The Zagreb School of Animation, one of the great achievements of Yugoslav culture, produced hundreds of films from the 1950s to the early 1990s. ![]()
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