Abstract: The paper is dedicated to Julian Antonisz Antoniszczak, an extravagant artist, skilled inventor and an experimental filmmaker affiliated with The Animated Film Studio in Krakow (Poland). Although Antoniszs works are rarely screened on international festivals, he remains very well remembered by Polish animation aficionados, mostly as the author of oddball ‘noncamera’ films drawn, painted, scratched, burned or woodcutprinted directly on 35 mm tape. His strong inclination towards visual experiment makes him akin to internationally acclaimed avantgarde filmmakers such as Norman McLaren, Stan Brakhage or Len Lye, yet, in comparison to these artists, Antoniszs output appears as far less hermetic and exclusive. The director won a significant popularity among Polish viewers thanks to his ability to reconcile an experimental approach to film medium with absurd mockery of socialist reality, appealing primitivism and insane burlesque. It strikes as characteristic that Antoniszs artistic method based on radical dedication to ‘do it yourself’ philosophy, his anarchistic sense of humor as well as natural distrust of authorities and mainstream doctrines made him a cult artist for Polish punk movement vital in 1980s. From the perspective of film historian Antoniszs pursuit for artistic independence in times of ideological hegemony may be regarded as an exemplification of the wider context of Polish dissident art which over the last two decades of the communist regime combined guerilla methods with subversive messages.

Key words: Julian Antonisz Antoniszczak, Polish animation, direct animation, independent filmmaking, dissident art

摘要： 朱利安·安东尼斯·安东尼斯恰克是一位放肆的艺术家、技术娴熟的发明家，也是一位附属于波兰克拉科夫（Krakow）动画电影制片厂的实验导演。安东尼斯能够将对电影媒介的实验性创作与对现实的荒谬嘲弄、吸引人的原始主义及疯狂的滑稽表演调和在一起，在波兰观众中广受欢迎。安东尼斯的艺术创作手法基于对“DIY”哲学的激进献身精神，他的无政府主义幽默感，以及对权威和主流教条的反叛，都使他成为80年代至关重要的波兰朋克运动中的邪典艺术家。从电影史学家的角度来看，安东尼斯在意识形态霸权时代对艺术独立的追求可以看作是波兰异见艺术在过去20年的政权中，将游击手段与颠覆性意识结合在一起的更大背景下的典型例证。

关键词: 朱利安·安东尼斯·安东尼斯恰克, 波兰动画, 直接动画, 独立影像制作, 异见艺术