The Zagreb School of Animation, one of the great achievements of Yugoslav culture, produced hundreds of films from the 1950s to the early 1990s. 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. 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. 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. The paper places the Zagreb School in this historical context with a formalist analysis of Boris Kolar's Bumerang (Boomerang, 1962).

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回旋镖和炸弹：萨格勒布动画学院和南斯拉夫的第三路实验

萨格勒布动画学院是南斯拉夫文化的伟大成就之一，从 1950 年代到 1990 年代初制作了数百部电影。本文研究萨格勒布学派的早期发展和讽刺二战后普遍关注的电影：工业化、军国主义、环保主义、核毁灭和城市异化，以及商业化和大众化的顺从压力文化。本文认为，既不是持不同政见者也不是宣传者的萨格勒布学派打破了对中欧和东欧独裁国家艺术家的许多刻板印象。它对动画媒体的处理方式与南斯拉夫第三条道路实验的两个最重要的特征相邻：工人自我管理的发展和对国际主义的承诺。本文将萨格勒布学派置于这一历史背景下，对鲍里斯·科拉尔的布美朗（回旋镖，1962）。