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Wychowywać czy pouczać? Perswazja i propaganda w polskim animowanym filmie dla dzieci

100%

Sitkiewicz P.

2008

nr 7(14)

303-310

Polish animated film created during the communist regime (1945–1989) can be divided into the experimental one, produced in independent artists’ ateliers, and the serial one, usually addressed to children and in this case supervised by censorship. The first one is considered as anticommunist, reacting to the bureaucratic state with criticism, the second one – as purely entertaining with a hidden propaganda message (government officially emphasized that short-feature films had to educate children, including propagation of socialism). The author of this article tries to examine the problem in practice. In his opinion independent artists criticized regime using metaphors or other sophisticated means of expression, thus the subversive character of their work could have been misinterpreted. On the other hand, animators working on films for children preferred soft didacticism to declared agitation. We can also find scenes showing, for example, friendship between Poland and Soviet Union, or praise for working class, but it is difficult to prove decisively that such images were meant to influence children by shaping their attitude towards communist regime. Other explanations are equally persuasive. Films for the youngest audience are generally based on simplifications and stereotypes taken from “adult” world, or even social life. In animated short films there is no time for the political context or further explanations.

Miki i Donald na froncie (wewnętrznym). Disney Studios podczas II wojny światowej

100%

Biskupski Ł.

2008

nr 7(14)

176-190

The main goal of the article is to describe Walt Disney Studios’ propaganda activity during World War II. The author puts Disney’s production in a wider context of “home front” activity and functioning of the film industry under the coordination of the Office of War Information and within it, the Bureau of Motion Pictures Affairs. He also outlines the usage of propaganda (and film itself for propaganda purposes) both in the USA and Germany before WW II. The main part of the article concentrates on Disney Studios. It analyzes the impact of the war outbreak (as well as of other factors) on financial condition of the company and Disney’s cooperation with Canadian Government and political involvement in South American affairs. A detailed overview and description of several subgenres of cartoons that were produced for the needs of the government and US Army are also given. These were, for example, training films (popularly called “nuts ‘n’ bolt” films”), pure entertainment films as well as “motivation” films which were intended to encourage citizens to buy war bonds, pay taxes or save wastes. Apart from films itself the Burbank studio produced a whole range of other propaganda materials: from war insignia to Mickey Mouse gas masks. The article also contains some reflections on Walt Disney’s political attitude and preferences. Taking into consideration some of his pre-war films and their political meaning as well as producer’s contacts with Nazi Germany the author suggests that in the late 30’s and early 40’s Disney manifested a kind of a fascist inclination.

W pułapce utopii. Walt Disney i socjalizm

88%

Sitkiewicz P.

nr 9(16)

153-163

The first part of the text is devoted to Walt Disney’s involvement in the struggle against communism, including his testimony before the House Committee on Un-American Activities and breaking a strike in his Burbank studio in 1941, allegedly inspired by the Communist Party. I also try to find out, if his suspicions ware reasonable and how to explain Disney’s aversion to the communism. The second part of the text is devoted to Walt Disney’s fascination with socialism, derived from his family home and the Great Depression times. I also focus on Disney’s relations with Soviet filmmakers and Soviet film market, trying to find traces of these fascinations in animated cartoons (especially in those who are considered to support president Roosevelt’s leftist policy). Third part of the text relates to the business strategy of The Walt Disney Company after 1989, when the head of the studio tried to reconcile the communist ideology with the capitalism, especially on Chinese market, where Disney films and artifacts are distributed.