Joanna Jasińska-Koronkiewicz (Polish National Film, Television and Theatre School, Łódź): “Building bridges to the animation island”

Łódź is a remarkable place, a city where the grandeur of yesteryear is still clearly felt, and renovation and ruin go hand in hand. Above all, it is the Polish film city par excellence; numerous production companies and studios had their headquarters there (including the iconic Se-Ma-For Studio for animated films), and above all, the film school made the city’s heart beat for cinema, with a reputation that extended beyond the Polish borders. Joanna Jasińska-Koronkiewicz is the Head of the Animation Department at the Polish National Film, Television and Theatre School in Łódź, one of the partners in this year’s CEEA Animation Workshop. Do today’s students still want to follow in the footsteps of Zbigniew Rybczyński, Marek Skrobecki, or Barbara Rupik?

Joanna Jasińska-Koronkiewicz: I used to teach animation at the Łódź Film School, and since this year, I have been appointed as Head of the Animation Department. My professional experience as an animator and director is useful in this position, as I am familiar with every step in the filmmaking process, from script to screening.

Łódź has a reputation as the Polish capital of animation，how can this tradition be carried on?

Jasińska-Koronkiewicz: I am glad to hear that this is still the case. Łódź is first and foremost a film city, a popular location for filming with a long tradition in feature films. Historically, we had a specific reputation for puppet animation due to the Se-Ma-For Studio. Today, many young production studios in Łódź still draw on the talent of artists who once worked at Se-Ma-For. Also, the people at MOMAKIN, the association that promotes puppet animation in Łódź through seminars and festivals, have their roots in the legendary studio. And, of course, we are renowned for the education provided at our institute, and many students stick around in the city after graduating, looking for a job in the film industry.

How to situate the Animation Department within the broader structure of the Institute?

Jasińska-Koronkiewicz: The Animation Department initially began as part of the Direction of Photography & Television Department, providing training in special effects. But students often developed their own artistic vision and started using animation techniques to create artistic and experimental films. In this way, animation became somewhat of a separate, self-sufficient island in the bigger unit. Due to the dynamic technological development of both animation and VFX, we have decided to separate these two sectors. Animation is a cinematic form in itself that requires a focus on screenwriting, animation techniques, and directing. That is what the majority of our students are looking for. The special effects technology can serve as a bridge between the Animation and Direction Department and help us tighten the bonds.

Is the tradition of puppet animation still being kept alive at the school?

Jasińska-Koronkiewicz: Some of the great artists from Se-Ma-For are still active, and our students are interested in the work of Wojtek Leszczyński and Ania Mroczek. The tradition is set to continue.

I asked you because, after seeing Polish animation studios present their work, I was surprised at how much of it still targets kids’ audiences; around 80% of the presentations were kids’ content.

Jasińska-Koronkiewicz: Indeed, and it doesn’t make me happy, even if I’ve been working in this sector for 15 years. Kids’ content is relatively marketable internationally, it’s a part of our history, and everybody loves Reksio and Bolek & Lolek. Now it’s time to convince people that animation is not just for children – it’s a mature, beautiful, and inspiring art form. It’s not an easy mission, but something has changed since FLOW won the Oscar! This is our chance to pave the path for a new type of animation. In line with this ambition, I am preparing my first long animation film, which will target adult audiences. We are in the development stage and waiting for a decision from the Polish Film Institute about the funding. Combining this project with my new position at the film school was ambitious, as for my film, I’m the scriptwriter, animator, director, cinematographer… It’s like a one-man band! Except producing – this is the one thing I could never do. But you can’t be the best in everything, so cooperation is needed. This should also be a part of our students’ formation.

In many countries, confidence was needed to rebuild after the collapse of the Eastern European animation industry in the 1990s. What about the Polish self-confidence?

Jasińska-Koronkiewicz: It was more my generation that struggled with it. Nowadays, our students are not held back by international barriers; they have the courage and expertise to sign up for any international animation team. Actually, the pandemic boosted our confidence. It made it clear to animators how independent they were. When the entire film industry stopped, animation did carry on, and every animator was working online at home.

How does the Łódź Film School stimulate this broad international perspective?

Jasińska-Koronkiewicz: Our students’ movies are being screened in many festivals; the Animation Department is the one bringing home the most awards. We welcome international students through the Erasmus programme, and we collaborate with animation schools that share our vision, like The Animation Institut in Ludwigsburg. In my first year as Head of the Animation Department, I hope that such cooperation can further grow and be improved.

One possible way to broaden your international perspective is through CEEA. Would you advise your students to participate in the CEE Animation Workshop?

Jasińska-Koronkiewicz: This could be particularly interesting for our oldest students. This workshop goes beyond the work on a specific project; it helps you prepare for your professional career, developing a production package, pitching, budgeting a project, etc. If we get the opportunity, we definitely want to continue working together on future editions of the Workshop.

Can you summarise the course you want to take with the school’s training programme in one key point?

Jasińska-Koronkiewicz: This school is a state-funded institute; each student requires an investment from the national government. These investments should result in a better status for Polish animated films, which have already profoundly improved over the last few years. But our Animation Department is too isolated, an island unto itself. Our connection with the other departments is limited; this will be one of my priority changes. We should connect students in the Screenwriting Department with the world of animation and convince them that this is another attractive part of the film industry for which you can write if you master the specific language. Young producers and editors might be afraid to work with animation, because they’re not familiar with it – they’re mostly focused on making live-action features. It’s time to connect them, so we can close the circle and build bridges to the animation island.

Source：Gert Hermans/CEE animation

CEEA Talks: Joanna Jasińska-Koronkiewicz (Polish National Film, Television and Theatre School, Łódź): “Building bridges to the animation island”