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・ Petar Dujam Munzani
・ Petar Džadžić
・ Petar Fajfrić
・ Petar Fartunov
・ Petar Filipović
・ Petar Franjic
・ Petar Franjić
・ Petar Gabrovski
・ Petar Gargov
・ Petar Gburčik
・ Petar Genov
・ Petar Georgiev (cyclist)
・ Petar Georgiev-Kalica
・ Petar Georgijevski
・ Petar Gigić
Petar Gligorovski
・ Petar Glintić
・ Petar Godev
・ Petar Golubović
・ Petar Gorša
・ Petar Gračanin
・ Petar Grašo
・ Petar Grbić
・ Petar Grgec
・ Petar Gudev
・ Petar Hadzi Boskov
・ Petar Hektorović
・ Petar Hubchev
・ Petar I
・ Petar I Petrović Njegoš


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Petar Gligorovski : ウィキペディア英語版
Petar Gligorovski

Petar Gligorovski (Cyrillic: Петар Глигоровски; born: Perica Gligorović, Cyrillic: Перица Глигоровић; 1938–1995, Skopje, Republic of Macedonia) was a Yugoslav and Macedonian academic painter and an animated movies director.
==Education and Career==
After receiving an education on Academy of Fine Arts in Belgrade and specialization of animation in Zagreb, he started authoring animated films for TV Skopje from 1963-1968. He was the author of the first Macedonian animated film titled "embryo No.M".〔(【引用サイトリンク】url=http://www.maccinema.com/Person.aspx?p=20 )〕 He was a leading representative of contemporary Macedonian animation, which is awarded at festivals in Berlin, Oberhausen, New York.〔(【引用サイトリンク】url=http://www.utrinski.com.mk/?ItemID=9EFFABEB6EE21E499CB31B7D0B73189E )
Prior to his shift cinema, he was one of the pioneers of Yugoslav comics in the 1950s and a technical animator mostly working within the prestigious Zagreb-centered circle of animators. He created several movies, a number of technique-experimental unaccounted footage and left two unfinished projects designed under auspices of the production house "Vardar Film".
The hallmarks of his movies, all of which are technically authored with polychromatic, predominantly biomorph shapes in recurring and subdued patterns, constituted a unique and recognizable style. Thematically the movies express universal combined mythical themes (birth, fall of man, apocalypse, phoenix), through broad ranges of visual allegories and metaphors. In some of authors works, documentary sequences were embedded, in line with symbolic augmentation of script's leitmotiv, rather than for reasons of visual appeal or exploration of technical limits.

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