The Evolution of Mr. Prokouk: From Propaganda Tool to Animation Icon
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| Year of publication | 2025 |
| Type | Appeared in Conference without Proceedings |
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| Description | Czechoslovak animation faced numerous challenges in the post-war years. Chiefly among them was the issue of funding as the only profitable type of animation was the one used in advertising films. Sociopolitical changes accelerated the need for social advertising, leading to many campaigns propelled by the Czechoslovak Communist Party reflected in film production. Amidst these changes, Karel Zeman created Mr. Prokouk. This puppet became a “spokescharacter” (fictional character used to promote a product, brand or idea) during the early era of communist agitation and propaganda (1946–1949). This study reveals through media analysis of 20 various periodicals how historical discourse in both f ilm press and daily newspapers shaped Mr. Prokouk’s evolution from a propaganda tool through an educational figure to ultimately the symbol of Karel Zeman’s legacy. Mr. Prokouk initially reflected social values and moral lessons through comedic missteps. These narratives aligned with campaigns promoting waste collection, alcohol abstinence or worker recruitment. Humour, 106expressive puppet design, and the absence of dialogue contributed to this character’s international appeal and educational potential, extending beyond cinema into printed media, merchandise and festivals. Between 1949 and 1955, Prokouk’s series paused, and attention shifted to Zeman’s other films (e. g. Journey to the Beginning of Time, An Invention for Destruction). In the 1960s, Mr. Prokouk re-emerged as an emblem of Zeman’s oeuvre, despite being directed by different artists (Zdeněk Rozkopal, Arnošt Kupčík and Eugen Spálený). Moreover, his educational role gradually replaced his agitational function, targeting a younger audience in the process. The proposed presentation examines Mr. Prokouk’s evolution from a tool of social propaganda to a lasting icon of Czechoslovak animation, reflecting broader trends in the state-controlled film industry. Mr. Prokouk became an integral part of the Czechoslovak puppet animation and Karel Zeman’s brand, bridging political intent and cultural identity. |
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