ABSTRACT
Jiri Trnka, the new rising star of the Prague animation scene, did not work with comic strips like George Pal but with illustrations-turned-puppets. While producing his cigarette commercials in Berlin before the Nazi rise to power, Pal had changed sides and switched from flat 2D to dimensional 3D animation, but, contrary to the tardiness of Hermann and Ferdinand Diehl, he put the dynamics of 2D in it. His artists and technicians, in Eindhoven and in Hollywood, would create each animated move of a puppet character in wood and replace figures frame by frame, making walking cycles possible as in 2D animation and distorting characters like in 2D's cartoony style. Animators and technicians were occasionally commissioned by the German occupants and specialized in puppet animation. There was an ongoing competition in that studio between Hermina Tyrlova and her former animator Karel Zeman.
