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Ülo Pikkov

Tallinn University, MEDIT - TLU Center of Excellence on Media Innovation and Digital Culture, Creative Lab

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Ülo Pikkov is an internationally renowned filmmaker, producer and film scholar. Pikkov studied animation at the Turku Arts Academy in Finland and since 1996 has directed several award-winning animation films ("Letting Go", “Empty Space”, “Tik-Tak”, “Body Memory”, “Dialogos”). He has published articles on film and written fiction books for children and adults. In 2005 he graduated from the Institute of Law in University of Tartu, focusing on the media and author’s rights. Pikkov is the author of “Animasophy, Theoretical Writings on the Animated Film” (2011). For 10 years Pikkov was the associate professor of the Animation Department in the Estonian Academy of Arts supporting new talents in the Estonian animation scene. Pikkov received his PhD in 2018 at the Estonian Academy of Arts.

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Books by Ülo Pikkov

Distopia e surrealismo involontario nel cinema d’animazione

Fantasmagoria , 2017

articolo di Fantasmagoria

Anti-Animation: Textures of Eastern European Animated Film

The unique cultural milieu and complex history of Eastern Europe has shaped an unparalleled tradi... more

Animasophy. Theoretical writings on the animated film.

This is a book primarily for professionals and lovers of animation, but it can also be employed a... more This is a book primarily for professionals and lovers of animation, but it can also be employed as a textbook for other fields of audiovisual media. Pikkov is a director of animated films who, in addition to creating animated films, teaches in the Department of Animation of the Estonian Academy of Arts.
Animasophy analyses the interrelations of the history, theoretical essence and practical expression of the animated film.

REVIEW: http://www.awn.com/blogs/10till6/review-animasophy-theoretical-writings-animated-film

Papers by Ülo Pikkov

Pengaruh Pertumbuhan Ekonomi, Pendapatan Asli Daerah dan Dana Alokasi Umum terhadap Pengalokasian Angggaran Belanja Modal pada Provinsi Sumatera Utara

On the Links between Caricatures and Animated Films in Communist Eastern Europe

Baltic Screen Media Review, 2017

This article analyses and maps the links between caricature and animated film, as well as their d... more This article analyses and maps the links between caricature and animated film, as well as their development during the post-World War II era, in communist Eastern Europe. The article also deals with the specific nature of animation production under the conditions of political censorship and the utilisation of Aesopian language as an Eastern European phenomenon for outmanoeuvring censorship.

Surrealist Sources of Eastern European Animation Film

Baltic Screen Media Review, 2013

This article investigates the relationship between surrealism and animation film, attempting to e... more This article investigates the relationship between surrealism and animation film, attempting to establish the characteristic features of surrealist animation film and to determine an approach for identifying them. Drawing on the interviews conducted during the research, I will also strive to chart the terrain of contemporary surrealist animation film and its authors, most of who work in Eastern Europe. My principal aim is to establish why surrealism enjoyed such relevance and vitality in post-World War II Eastern Europe. I will conclude that the popularity of surrealist animation film in Eastern Europe can be seen as a continuation of a tradition (Prague was an important centre of surrealism during the interwar period), as well as an act of protest against the socialist realist paradigm of the Soviet period.

On the Topics and Style of Soviet Animated Films

Baltic Screen Media Review

This article provides a survey of Soviet animation and analyses the thematic and stylistic course... more This article provides a survey of Soviet animation and analyses the thematic and stylistic course of its development. Soviet animated film emerged and materialised in synch with the fluctuations of the region’s political climate and was directly shaped by it. A number of trends and currents of Soviet animation also pertain to other Eastern European countries. After all, Eastern Europe constituted an integrated cultural space that functioned as a single market for the films produced across it by filmmakers who interacted in a professional regional network of film education, events, festivals, publications etc.Initially experimental, post-revolutionary Russian animation soon fell under the sway of the Socialist Realist discourse, along with the rest of Soviet art, and quickly crystallised as a didactic genre for children. Disney’s paradigm became its major source of inspiration both in terms of visual style and thematic scope, despite the fact that Soviet Union was regarded as the ide...

LIST OF SPEAKERS AND ABSTRACTS IN ORDER OF APPEARANCE Keynote speaker

Keynote speaker Ülo Pikkov studied animation at Turku Arts Academy in Finland and since 1996 has ... more Keynote speaker Ülo Pikkov studied animation at Turku Arts Academy in Finland and since 1996 has directed several award-winning short animation films in Eesti Joonisfilm and Nukufilm studios. His articles, caricatures and illustrations have been published in the Estonian press. In parallel with producer’s work Ülo has continued directing his own animation films and supporting new talents in the Estonian animation scene. Together with Priit Pärn he is the founder and Associate Professor of the Animation Department in the Estonian Academy of Arts.

The storyboard for Body Memory

Short Film Studies, 2014

Keha Mälu/Body Memory

Short Film Studies, 2014

The storyboard for Body Memory

Short Film Studies, 2014

Mälu kui muuseum / Memory As a Museum

Short article in Estonian photography magazine POSITIIV (33/2018, ISSN: 1736-9053)

On the Links between Caricatures and Animated Films in Communist Eastern Europe

Baltic Screen Media Review, 2017

This article analyses and maps the links between caricature and animated film, as well as their d... more This article analyses and maps the links between caricature and animated film, as well as their development during the post-World War II era, in communist Eastern Europe. The article also deals with the specific nature of animation production under the conditions of political censorship and the utilisation of Aesopian language as an Eastern European phenomenon for outmanoeuvring censorship.

On the Topics and Style of Soviet Animated Films

Baltic Screen Media Review, 2016

This article provides a survey of Soviet animation and analyses the thematic and stylistic course... more This article provides a survey of Soviet animation and analyses the thematic and stylistic course of its development. The animated film of Soviet Union emerged and materialised in synch with, and was directly shaped by, the fluctuations of the region’s political climate. A number of tendencies and currents of Soviet animation also pertain to other Eastern European countries. After all, Eastern Europe constituted an integrated cultural space that functioned as a single market for the films produced across it by filmmakers who interacted in a regional professional network of film education, events, festivals, publications etc.
Initially experimental, the post-revolutionary Russian animation soon fell under the sway of socialist realist discourse, together with the rest of the Soviet art field, and quickly crystallised as a didactic genre for children. Disney’s paradigm became its major source of inspiration both in terms of visual style and thematic scope despite the fact that Soviet Union was regarded as the ideological opposite of Western way of life and mindset. Soviet animation industry was spread across different studios and republics that adopted slightly varied production practices and tolerated different degrees of artistic freedom. Studios in smaller republics, such as Estonia, Latvia and Lithuania, in particular stood out for making more ideologically complicated films than those produced in Moscow.

Surrealist Sources of Eastern European Animation Film

Baltic Screen Media Review, 2013

This article investigates the relationship between surrealism and animation film, attempting to e... more This article investigates the relationship between surrealism and animation film, attempting to establish the characteristic features of surrealist animation film and to determine an approach for identifying them. Drawing on the interviews conducted during the research, I will also strive to chart the terrain of contemporary surrealist animation film and its authors, most of who work in Eastern Europe. My principal aim is to establish why surrealism enjoyed such relevance and vitality in post-World War II Eastern Europe. I will conclude that the popularity of surrealist animation film in Eastern Europe can be seen as a continu- ation of a tradition (Prague was an important centre of surrealism during the interwar period), as well as an act of protest against the socialist realist paradigm of the Soviet period.

Distopia e surrealismo involontario nel cinema d’animazione

Fantasmagoria , 2017

articolo di Fantasmagoria

Anti-Animation: Textures of Eastern European Animated Film

The unique cultural milieu and complex history of Eastern Europe has shaped an unparalleled tradi... more

Animasophy. Theoretical writings on the animated film.

This is a book primarily for professionals and lovers of animation, but it can also be employed a... more This is a book primarily for professionals and lovers of animation, but it can also be employed as a textbook for other fields of audiovisual media. Pikkov is a director of animated films who, in addition to creating animated films, teaches in the Department of Animation of the Estonian Academy of Arts.
Animasophy analyses the interrelations of the history, theoretical essence and practical expression of the animated film.

REVIEW: http://www.awn.com/blogs/10till6/review-animasophy-theoretical-writings-animated-film

Pengaruh Pertumbuhan Ekonomi, Pendapatan Asli Daerah dan Dana Alokasi Umum terhadap Pengalokasian Angggaran Belanja Modal pada Provinsi Sumatera Utara

On the Links between Caricatures and Animated Films in Communist Eastern Europe

Baltic Screen Media Review, 2017

This article analyses and maps the links between caricature and animated film, as well as their d... more This article analyses and maps the links between caricature and animated film, as well as their development during the post-World War II era, in communist Eastern Europe. The article also deals with the specific nature of animation production under the conditions of political censorship and the utilisation of Aesopian language as an Eastern European phenomenon for outmanoeuvring censorship.

Surrealist Sources of Eastern European Animation Film

Baltic Screen Media Review, 2013

This article investigates the relationship between surrealism and animation film, attempting to e... more This article investigates the relationship between surrealism and animation film, attempting to establish the characteristic features of surrealist animation film and to determine an approach for identifying them. Drawing on the interviews conducted during the research, I will also strive to chart the terrain of contemporary surrealist animation film and its authors, most of who work in Eastern Europe. My principal aim is to establish why surrealism enjoyed such relevance and vitality in post-World War II Eastern Europe. I will conclude that the popularity of surrealist animation film in Eastern Europe can be seen as a continuation of a tradition (Prague was an important centre of surrealism during the interwar period), as well as an act of protest against the socialist realist paradigm of the Soviet period.

On the Topics and Style of Soviet Animated Films

Baltic Screen Media Review

This article provides a survey of Soviet animation and analyses the thematic and stylistic course... more This article provides a survey of Soviet animation and analyses the thematic and stylistic course of its development. Soviet animated film emerged and materialised in synch with the fluctuations of the region’s political climate and was directly shaped by it. A number of trends and currents of Soviet animation also pertain to other Eastern European countries. After all, Eastern Europe constituted an integrated cultural space that functioned as a single market for the films produced across it by filmmakers who interacted in a professional regional network of film education, events, festivals, publications etc.Initially experimental, post-revolutionary Russian animation soon fell under the sway of the Socialist Realist discourse, along with the rest of Soviet art, and quickly crystallised as a didactic genre for children. Disney’s paradigm became its major source of inspiration both in terms of visual style and thematic scope, despite the fact that Soviet Union was regarded as the ide...

LIST OF SPEAKERS AND ABSTRACTS IN ORDER OF APPEARANCE Keynote speaker

Keynote speaker Ülo Pikkov studied animation at Turku Arts Academy in Finland and since 1996 has ... more Keynote speaker Ülo Pikkov studied animation at Turku Arts Academy in Finland and since 1996 has directed several award-winning short animation films in Eesti Joonisfilm and Nukufilm studios. His articles, caricatures and illustrations have been published in the Estonian press. In parallel with producer’s work Ülo has continued directing his own animation films and supporting new talents in the Estonian animation scene. Together with Priit Pärn he is the founder and Associate Professor of the Animation Department in the Estonian Academy of Arts.

The storyboard for Body Memory

Short Film Studies, 2014

Keha Mälu/Body Memory

Short Film Studies, 2014

The storyboard for Body Memory

Short Film Studies, 2014

Mälu kui muuseum / Memory As a Museum

Short article in Estonian photography magazine POSITIIV (33/2018, ISSN: 1736-9053)

On the Links between Caricatures and Animated Films in Communist Eastern Europe

Baltic Screen Media Review, 2017

This article analyses and maps the links between caricature and animated film, as well as their d... more This article analyses and maps the links between caricature and animated film, as well as their development during the post-World War II era, in communist Eastern Europe. The article also deals with the specific nature of animation production under the conditions of political censorship and the utilisation of Aesopian language as an Eastern European phenomenon for outmanoeuvring censorship.

On the Topics and Style of Soviet Animated Films

Baltic Screen Media Review, 2016

This article provides a survey of Soviet animation and analyses the thematic and stylistic course... more This article provides a survey of Soviet animation and analyses the thematic and stylistic course of its development. The animated film of Soviet Union emerged and materialised in synch with, and was directly shaped by, the fluctuations of the region’s political climate. A number of tendencies and currents of Soviet animation also pertain to other Eastern European countries. After all, Eastern Europe constituted an integrated cultural space that functioned as a single market for the films produced across it by filmmakers who interacted in a regional professional network of film education, events, festivals, publications etc.
Initially experimental, the post-revolutionary Russian animation soon fell under the sway of socialist realist discourse, together with the rest of the Soviet art field, and quickly crystallised as a didactic genre for children. Disney’s paradigm became its major source of inspiration both in terms of visual style and thematic scope despite the fact that Soviet Union was regarded as the ideological opposite of Western way of life and mindset. Soviet animation industry was spread across different studios and republics that adopted slightly varied production practices and tolerated different degrees of artistic freedom. Studios in smaller republics, such as Estonia, Latvia and Lithuania, in particular stood out for making more ideologically complicated films than those produced in Moscow.

Surrealist Sources of Eastern European Animation Film

Baltic Screen Media Review, 2013

This article investigates the relationship between surrealism and animation film, attempting to e... more This article investigates the relationship between surrealism and animation film, attempting to establish the characteristic features of surrealist animation film and to determine an approach for identifying them. Drawing on the interviews conducted during the research, I will also strive to chart the terrain of contemporary surrealist animation film and its authors, most of who work in Eastern Europe. My principal aim is to establish why surrealism enjoyed such relevance and vitality in post-World War II Eastern Europe. I will conclude that the popularity of surrealist animation film in Eastern Europe can be seen as a continu- ation of a tradition (Prague was an important centre of surrealism during the interwar period), as well as an act of protest against the socialist realist paradigm of the Soviet period.