Vladislav Starevich: The Personality of the Inventor of Puppet Animation and the Motives of His Art

Abstrak / Ringkasan

The inventor of puppet animation, Vladislav Starevich (1882–1965), remains one of the most understudied figures among the 20th century’s most influential directors. The biographical information about him is scant, and foreign-language publications have been virtually unused in Russian film studies. The recent emergence of new publications allows for a broader understanding of the origins of his work and technical inventions. This article attempts to construct a psychological portrait of Starevich by comparing his biographical data and the recurring themes of his work. Films and motifs from three main periods of Starevich’s career are examined: the pre-revolutionary period, the emigration period of silent films (1920s), and the transition to sound (early 1930s). The article provides a review of the scholarly literature on Starevich, which at one time inspired his image of a mysterious alchemist or wizard. It examines his biography, particularly his childhood and the cultural environment that shaped his personality and artistic passions. Particular attention is paid to the films that explore the theme of ‘devilry’: Drinking and Its Consequences, The Night Before Christmas, Terrible Vengeance, Pan Twardowski, Maiden Mountains (The Legend of the Antichrist), Fetish Mascot, and others. The author examines Starevich’s period as an émigré, during which, in an attempt to regain the creative freedom he had lost after emigrating from Russia, he created his own playful world within his family.

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