The Story of the Bass Cello, released in 1949, marked the start of a long career for Břetislav Pojar, who served as a puppeteer under Jiří Trnka. This initial collaboration in Czechoslovakia established his foundation as an animator and director, roles he would later expand upon throughout an extensive international film career that spanned over six decades.
Early Career and Puppet Animation
Born in 1923 in Sušice, Pojar emerged within the Czechoslovak film industry during the late 1940s. He specialized in puppet and stop-motion animation, developing techniques that often relied on visual narratives rather than spoken dialogue. As a practitioner of marionette manipulation, he moved beyond traditional storytelling to incorporate social commentary into his animated shorts.
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Pojar gained recognition for films such as Balablok, which depicted geometric beings engaged in warfare until their forms became indistinguishable. He collaborated with the United Nations on the productions Boom and The Big If, the latter of which involved producer Vaclav Strnad. In the mid-1960s, he transitioned to Canada to establish a productive partnership with the National Film Board of Canada, earning global accolades for his experimental approach to film structure.
Later Works and Pedagogy
After years abroad, Pojar returned to the Czech film industry in the mid-2000s. He co-directed the 2006 animated feature Fimfárum 2, which was based on stories by Jan Werich. Beyond his creative output, he functioned as a pedagogue, sharing his expertise in graphic arts and animation. His contributions were recognized through his designation as a Merited Artist of Czechoslovakia and as an honorary citizen of Prague 2 in 2007.
Fast facts
- Born: 1923, Sušice
- Died: 2012, Prague
- Primary Occupations: Director, Animator, Puppeteer
- Key Award: Short Film Palme d'Or (1973)
- Notable Employer: National Film Board of Canada
- Honors: Czech Medal of Merit (2008)
- Significant Work: Fimfárum 2 (2006)
Questions readers ask
What characterized Břetislav Pojar's animation style?
His films often utilized little to no spoken dialogue, favoring stop-motion and puppet animation to convey social commentary.
Did Pojar work outside of Czechoslovakia?
Yes, he emigrated to Canada in the mid-1960s and held a long-term collaboration with the National Film Board of Canada.
Achievements
- Short Film Palme d'Or — 1973
- Worked as film director, animator and pedagogue
