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Dark Alchemy: The Films of Jan Svankmajer (Contributions to the Study of Popular Culture)

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Finally reaching a broad audience with his first feature length film, Alice, in 1988 and later with Faust in 1995, this filmmaker has gained his due attention. Dubbed the Animator of Prague, Jan Svankmajer ranks as perhaps the most prominent member of the Czechoslovakian Surrealists.

Peter Hames has studied Svankmajer's art for many years and brought his store of knowledge to bear as editor of this collection of well-written essays. Most of the essays focus on Svankmajer's development as a surrealist and, to a lesser extent, a mannerist. Also, they explore his use of tactile objects and the concepts that undergird their use. For the person exploring the foundations of Svankmajer's art, this book is indispensable.

Hames includes an interview he conducted over several sessions with Svankmajer that is particularly illuminating, especially since English translations of Svankmajer's words are few and far between. Svankmajer speaks candidly about his place in the history of Surreal art, his personal theory of artistic creation, and the state of art in Europe.

One article within the book will challenge even the practiced reader. Frankly, this particular article possesses a density and obscurity that might make better sense if left untranslated.

If you are as fascinated with Svankmajer as I, purchase this book. If you are a casual fan, you might want to explore other sources before buying this one.

Jan Svankmejer is one of the most talented stop motion animation filmmakers currently working. Unfortunately his brilliant films have had only limited release in the United States and little in-depth reading is available on him and his body of work. Dark Alchemy provides some very interesting essays on Svankmejer, the history of Czech film, and surrealism. Those who do not have a film background and a good understanding of surrealism may have difficulty in understanding a lot of what is discussed, much of which would be considered heavy academic reading. The exception being an in-depth interview with Svankmejer. In fact one or two additional interviews with Svankmejer covering some of his specific films in depth might have made for a more well rounded book.

Finally reaching a broad audience with his first feature length film, Alice, in 1988 and later with Faust in 1995, this filmmaker has gained his due attention. Dubbed the Animator of Prague, Jan Svankmajer ranks as perhaps the most prominent member of the Czechoslovakian Surrealists.

Peter Hames has studied Svankmajer's art for many years and brought his store of knowledge to bear as editor of this collection of well-written essays. Most of the essays focus on Svankmajer's development as a surrealist and, to a lesser extent, a mannerist. Also, they explore his use of tactile objects and the concepts that undergird their use. For the person exploring the foundations of Svankmajer's art, this book is indispensable.

Hames includes an interview he conducted over several sessions with Svankmajer that is particularly illuminating, especially since English translations of Svankmajer's words are few and far between. Svankmajer speaks candidly about his place in the history of Surreal art, his personal theory of artistic creation, and the state of art in Europe.

One article within the book will challenge even the practiced reader. Frankly, this particular article possesses a density and obscurity that might make better sense if left untranslated.

If you are as fascinated with Svankmajer as I, purchase this book. If you are a casual fan, you might want to explore other sources before buying this one.