In mostly live action films like Lunacy (Šílení, 2005), this translates into a Delsartean type of performance, focused on selective, external physical expressions rather than internal psychology. Further, within multiple live action features (e.g. Faust), Švankmajer substitutes a puppet for the main actor for a few scenes, unsettling the character’s flesh-bound ontology. However, we most clearly see Švankmajer treating his actors like puppets when he stop animates living actors in a technique called pixilation.
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