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** ''The Deadly Invention'' combines live actors with all sorts of animation techniques to recreate the original illustration style in Creator/JulesVerne's books. ''The Stolen Airship'' and ''On the Comet'' return to Verne, with a generous dash of Art Nouveau for good measure.
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** ''The Deadly Invention'' combines live actors with all sorts of animation techniques to recreate the original illustration style in Creator/JulesVerne's books. ''The Stolen Airship'' and ''On the Comet'' return to Verne, with a generous dash of Art Nouveau ArtNouveau for good measure.
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* MediumBlending: Zeman worked wonders with this trope.
** ''The Deadly Invention'' combines live actors with all sorts of animation techniques to recreate the original illustration style in Creator/JulesVerne's books. ''The Stolen Airship'' and ''On the Comet'' return to Verne, with a generous dash of Art Nouveau for good measure.
** ''Baron Munchausen'' and ''A Jester's Tale'' use the technique to pay homage to the eminent illustrators Gustave Doré and Matthaus Merian, respectively.
** ''Journey to Prehistory'' blends live-action with stop-motion, cutouts, and even puppetry, much of it in direct tribute to the great paleo-artist Zdeněk Burian.
** ''Krabat'', ''Tales of 1,001 Nights'', and ''The Tale of John and Mary'' are predominantly cutout animation, but weave in other techniques now and then for the pure visual splendor of it.
** ''The Deadly Invention'' combines live actors with all sorts of animation techniques to recreate the original illustration style in Creator/JulesVerne's books. ''The Stolen Airship'' and ''On the Comet'' return to Verne, with a generous dash of Art Nouveau for good measure.
** ''Baron Munchausen'' and ''A Jester's Tale'' use the technique to pay homage to the eminent illustrators Gustave Doré and Matthaus Merian, respectively.
** ''Journey to Prehistory'' blends live-action with stop-motion, cutouts, and even puppetry, much of it in direct tribute to the great paleo-artist Zdeněk Burian.
** ''Krabat'', ''Tales of 1,001 Nights'', and ''The Tale of John and Mary'' are predominantly cutout animation, but weave in other techniques now and then for the pure visual splendor of it.
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* CreatorThumbprint: Zeman seems to have put a thunderstorm in pretty much all of his feature films.
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** And, similarly, ''Baron Prášil'' is the standard Czech DubNameChange for the character Baron Munchausen; that's why the title translates the way it does.
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* DubNameChange:
** "Baron Prášil" is the standard Czech name for the character known to the rest of the world as Baron Munchausen, so most foreign releases of the film simply change the character's name (and, with it, the title of the film) back to what we would expect.
** When ''The Deadly Invention'' first came to America as ''The Fabulous World of Jules Verne'', the names of most of the cast and crew were Anglicized to disguise the film's Czech origin. The same thing happened when ''Journey to Prehistory'' came over as ''Journey to the Beginning of Time''.
** "Baron Prášil" is the standard Czech name for the character known to the rest of the world as Baron Munchausen, so most foreign releases of the film simply change the character's name (and, with it, the title of the film) back to what we would expect.
** When ''The Deadly Invention'' first came to America as ''The Fabulous World of Jules Verne'', the names of most of the cast and crew were Anglicized to disguise the film's Czech origin. The same thing happened when ''Journey to Prehistory'' came over as ''Journey to the Beginning of Time''.
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** And, similarly, ''Baron Prášil'' is the standard Czech DubNameChange for the character Baron Munchausen; that's why the title translates the way it does.
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* TheMunchausen: [[TropeNamer Baron Munchausen]], naturally.
** Incidentally, TheOtherWiki notes that Zeman's ''Baron Munchausen'' directly inspired Creator/TerryGilliam's take on the character, ''Film/TheAdventuresOfBaronMunchausen''.
** Incidentally, TheOtherWiki notes that Zeman's ''Baron Munchausen'' directly inspired Creator/TerryGilliam's take on the character, ''Film/TheAdventuresOfBaronMunchausen''.
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* CompletelyDifferentTitle: This happened a lot when Zeman's films were released abroad, as the "released in the US" notes in the filmography above indicate.
** Ironically, ''The Deadly Invention'' is itself a Completely Different Title; it's the standard Czech title for Jules Verne's book ''Facing the Flag'' (French: ''Face au drapeau''), the main source material for the film.
** Ironically, ''The Deadly Invention'' is itself a Completely Different Title; it's the standard Czech title for Jules Verne's book ''Facing the Flag'' (French: ''Face au drapeau''), the main source material for the film.
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* HaveAGayOldTime: In a ShoutOut to ''The Fabulous World of Jules Verne'', an effective and appropriate CompletelyDifferentTitle for ''The Deadly Invention'', the American producers also renamed ''Baron Munchausen'' ... calling it ''The Fabulous Baron Munchausen''. Now that the word "fabulous" is so strongly associated with the concept of being CampGay, the American title has become a bit misleading.
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consistency
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** When ''Journey to Primeval Times'' was released in the United States as ''Journey to the Beginning of Time'', it got an entirely new beginning featuring lookalike actors (carefully shot to avoid showing their faces) going to the [[CulturalTranslation New York Museum of Natural History and taking a boat ride in Central Park]] before segueing to the original Czech footage.
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** When ''Journey to Primeval Times'' Prehistory'' was released in the United States as ''Journey to the Beginning of Time'', it got an entirely new beginning featuring lookalike actors (carefully shot to avoid showing their faces) going to the [[CulturalTranslation New York Museum of Natural History and taking a boat ride in Central Park]] before segueing to the original Czech footage.
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* LostWorld: Most obviously in ''Journey to Primeval Times'', with a sort of extended SurrealHumor ShoutOut to the concept also featured in ''On the Comet''.
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* LostWorld: Most obviously in ''Journey to Primeval Times'', Prehistory'', with a sort of extended SurrealHumor ShoutOut to the concept also featured in ''On the Comet''.
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* LostWorld: Most obviously in ''Journey to Primeval Times'', with a sort of extended SurrealHumor ShoutOut to the concept also featured in ''On the Comet''.
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** When ''The Deadly Invention'' was first packaged for Americans as ''The Fabulous World of Jules Verne'', an introduction was added featuring the television host Hugh Downs.
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** When ''The Deadly Invention'' was first packaged for Americans as ''The Fabulous World of Jules Verne'', an introduction was added featuring the television host Hugh Downs.Downs, of ''Series/TwentyTwenty'' and ''{{Series/Concentration}}'' fame.
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* ImportationExpansion:
** When ''Journey to Primeval Times'' was released in the United States as ''Journey to the Beginning of Time'', it got an entirely new beginning featuring lookalike actors (carefully shot to avoid showing their faces) going to the [[CulturalTranslation New York Museum of Natural History and taking a boat ride in Central Park]] before segueing to the original Czech footage.
** When ''The Deadly Invention'' was first packaged for Americans as ''The Fabulous World of Jules Verne'', an introduction was added featuring the television host Hugh Downs.
** When ''Journey to Primeval Times'' was released in the United States as ''Journey to the Beginning of Time'', it got an entirely new beginning featuring lookalike actors (carefully shot to avoid showing their faces) going to the [[CulturalTranslation New York Museum of Natural History and taking a boat ride in Central Park]] before segueing to the original Czech footage.
** When ''The Deadly Invention'' was first packaged for Americans as ''The Fabulous World of Jules Verne'', an introduction was added featuring the television host Hugh Downs.
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!!Partial filmography:
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* DisneyAcidSequence: Zeman's oeuvre doesn't just blur the line between fantasy and {{Surrealism}}; it completely erases the line, then washes out any remaining traces of it, then waltzes all over and around where the line used to be.
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* SurrealHumor: Zeman's oeuvre doesn't just blur the line between fantasy and surrealism; it completely erases the line, then washes out any remaining traces of it, then waltzes all over and around where the line used to be.
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* DisneyAcidSequence: Zeman's oeuvre doesn't just blur the line between fantasy and {{Surrealism}}; it completely erases the line, then washes out any remaining traces of it, then waltzes all over and around where the line used to be.
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* {{Retraux}}: One reviewer noted that ''The Deadly Invention'' isn't just ''set'' in a charmingly SteamPunk 19th-century world; it looks and sounds as if it had actually been made ''within'' that world. And another reviewer commented that, while it's normally easy to guess what decade a film was made in, it's well nigh impossible to say even which ''century'' this one is from.
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* {{Retraux}}: One reviewer noted that ''The Deadly Invention'' isn't just ''set'' in a charmingly SteamPunk 19th-century world; it looks and sounds as if it had actually been made ''within'' that world. And Along the same lines, another reviewer commented said something to the effect that, while it's normally easy to guess what decade a film was made in, it's well nigh impossible to say even which ''century'' this one is from.
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* {{Retraux}}: One reviewer noted that ''The Deadly Invention'' isn't just ''set'' in a charmingly SteamPunk 19th-century world; it looks and sounds as if it had actually been made ''within'' that world. And another reviewer commented that, while it's normally easy to guess what decade a film was made in, it's well nigh impossible to say even which ''century'' that one is from.
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* {{Retraux}}: One reviewer noted that ''The Deadly Invention'' isn't just ''set'' in a charmingly SteamPunk 19th-century world; it looks and sounds as if it had actually been made ''within'' that world. And another reviewer commented that, while it's normally easy to guess what decade a film was made in, it's well nigh impossible to say even which ''century'' that this one is from.
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* {{Retraux}}: One reviewer noted that ''The Deadly Invention'' isn't just ''set'' in a charmingly SteamPunk 19th-century world; it looks and sounds as if it had actually been made ''within'' that world.
to:
* {{Retraux}}: One reviewer noted that ''The Deadly Invention'' isn't just ''set'' in a charmingly SteamPunk 19th-century world; it looks and sounds as if it had actually been made ''within'' that world. And another reviewer commented that, while it's normally easy to guess what decade a film was made in, it's well nigh impossible to say even which ''century'' that one is from.
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His films combine live-action elements, animation, and SpecialEffects of every kind to create highly stylized and imaginative visuals, paying homage to old-fashioned art ranging from ancient Persian miniatures to Victorian steel engravings. Directors Creator/RayHarryhausen, Creator/TimBurton, Creator/JohnLandis, and Creator/TerryGilliam are among those who have lauded his films, and it's been said that Creator/WesAnderson and Creator/JanSvankmajer were influenced by him too. He's often been called the Czech equivalent of Creator/GeorgesMelies, and the Barbican Centre in London described him simply as "unarguably one of the greatest animators of all time."
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His films combine live-action elements, animation, and SpecialEffects of every kind to create highly stylized and imaginative visuals, paying homage to all kinds of old-fashioned art ranging art, from ancient Persian miniatures to illuminated European manuscripts to Victorian steel engravings. Directors Creator/RayHarryhausen, Creator/TimBurton, Creator/JohnLandis, and Creator/TerryGilliam are among those who have lauded his films, and it's been said that Creator/WesAnderson and Creator/JanSvankmajer were influenced by him too. He's often been called the Czech equivalent of Creator/GeorgesMelies, and the Barbican Centre in London described him simply as "unarguably one of the greatest animators of all time."
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A Czech filmmaker (1910–1989) who—despite primitive working conditions, shoestring budgets, near-constant political turmoil in his home country, and Soviet censors breathing down his neck—somehow managed to produce some of the most visually innovative cinematic work of the 20th century. His films combine live-action elements, animation, and SpecialEffects of every kind to create highly stylized and imaginative visuals, often paying homage to old-fashioned artistic mediums and styles.
Directors Creator/RayHarryhausen, Creator/TimBurton, Creator/JohnLandis, and Creator/TerryGilliam are among those who have lauded his films, and it's been said that Creator/WesAnderson and Creator/JanSvankmajer were influenced by him too. He's often been called the Czech equivalent of Creator/GeorgesMelies, and the Barbican Centre in London described him simply as "unarguably one of the greatest animators of all time."
Directors Creator/RayHarryhausen, Creator/TimBurton, Creator/JohnLandis, and Creator/TerryGilliam are among those who have lauded his films, and it's been said that Creator/WesAnderson and Creator/JanSvankmajer were influenced by him too. He's often been called the Czech equivalent of Creator/GeorgesMelies, and the Barbican Centre in London described him simply as "unarguably one of the greatest animators of all time."
to:
A Czech filmmaker (1910–1989) who—despite primitive working conditions, shoestring budgets, near-constant political turmoil in his home country, and Soviet censors breathing down his neck—somehow managed to produce some of the most visually innovative cinematic work of the 20th century. century.
His films combine live-action elements, animation, and SpecialEffects of every kind to create highly stylized and imaginative visuals,often paying homage to old-fashioned artistic mediums and styles.
art ranging from ancient Persian miniatures to Victorian steel engravings. Directors Creator/RayHarryhausen, Creator/TimBurton, Creator/JohnLandis, and Creator/TerryGilliam are among those who have lauded his films, and it's been said that Creator/WesAnderson and Creator/JanSvankmajer were influenced by him too. He's often been called the Czech equivalent of Creator/GeorgesMelies, and the Barbican Centre in London described him simply as "unarguably one of the greatest animators of all time."
His films combine live-action elements, animation, and SpecialEffects of every kind to create highly stylized and imaginative visuals,
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A Czech filmmaker (1910–1989) who—despite primitive working conditions, shoestring budgets, near-constant political turmoil in his home country, and Soviet censors breathing down his neck—somehow managed to produce some of the most visually innovative cinematic work of the 20th century.
to:
A Czech filmmaker (1910–1989) who—despite primitive working conditions, shoestring budgets, near-constant political turmoil in his home country, and Soviet censors breathing down his neck—somehow managed to produce some of the most visually innovative cinematic work of the 20th century.
century. His films combine live-action elements, animation, and SpecialEffects of every kind to create highly stylized and imaginative visuals, often paying homage to old-fashioned artistic mediums and styles.
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Directors Creator/RayHarryhausen, Creator/TimBurton, Creator/JohnLandis, and Creator/TerryGilliam are among those who have lauded his films, and it's been said that Creator/WesAnderson and Creator/JanSvankmajer were influenced by him too. He's been called the Czech equivalent of Creator/GeorgesMelies multiple times, and the Barbican Centre in London described him simply as "unarguably one of the greatest animators of all time."
to:
Directors Creator/RayHarryhausen, Creator/TimBurton, Creator/JohnLandis, and Creator/TerryGilliam are among those who have lauded his films, and it's been said that Creator/WesAnderson and Creator/JanSvankmajer were influenced by him too. He's often been called the Czech equivalent of Creator/GeorgesMelies multiple times, Creator/GeorgesMelies, and the Barbican Centre in London described him simply as "unarguably one of the greatest animators of all time."
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* GeniusBonus: On one level most of Zeman's work is kid-friendly fare, but it tends to go a lot deeper than that. For instance, ''Baron Munchausen'' could be described as a fantasy/adventure love story ... but the script is bursting at the seams with sophisticated wordplay, there are visual and narrative references to everything from Gustave Doré to Creator/JulesVerne to Theatre/CyranoDeBergerac, and the whole thing becomes a winkingly played debate about the dignity of the human imagination and the need for art and poetry in a science-obsessed world. Eat your heart out, Creator/TomStoppard.
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** ''Baron Munchausen'', ''The Stolen Airship'', and ''On the Comet'': the live-action elements were filmed in black and white, but color animation, [[ColorWash color washes]], and [[SplashOfColor splashes of color]] are all added for stylistic reasons.
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** ''Baron Munchausen'', ''The Stolen Airship'', and ''On the Comet'': the live-action elements were filmed in black and white, but color animation, [[ColorWash color washes]], and [[SplashOfColor splashes of color]] are all added for stylistic reasons. The resulting effect is rather like a 19th-century hand-colored postcard (''The Stolen Airship'' and ''On the Comet'' even [[LampshadeHanging lampshade that similarity]] a couple of times) or one of those cool old tinted and hand-colored films from the early silent era (think the EarlyFilms featured in ''{{Film/Hugo}}'').
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Directors Creator/RayHarryhausen, Creator/TimBurton, Creator/JohnLandis, and Creator/TerryGilliam are among those who have lauded his films, and it's been said that Creator/WesAnderson and Creator/JanSvankmajer have been influenced by him too. He's been called the Czech Creator/GeorgesMelies multiple times, and the Barbican Centre in London recently described him as "unarguably one of the greatest animators of all time."
to:
Directors Creator/RayHarryhausen, Creator/TimBurton, Creator/JohnLandis, and Creator/TerryGilliam are among those who have lauded his films, and it's been said that Creator/WesAnderson and Creator/JanSvankmajer have been were influenced by him too. He's been called the Czech equivalent of Creator/GeorgesMelies multiple times, and the Barbican Centre in London recently described him simply as "unarguably one of the greatest animators of all time."
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* {{Retraux}}: One reviewer noted that ''The Deadly Invention'' isn't just ''set'' in a charmingly SteamPunk 19th-century world; it looks and sounds as if it had actually been made ''within'' that world.
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Directors Creator/RayHarryhausen, Creator/TimBurton, Creator/JohnLandis, and Creator/TerryGilliam are among those who have lauded his films, and it's been said that Creator/WesAnderson and Creator/JanSvankmajer have been influenced by him too. He's been called the Czech Creator/GeorgesMelies multiple times, and the Barbican Centre in London recently described him as "unarguably one of the greatest animators of all time."
* DeliberatelyMonochrome:
**''The Deadly Invention'', to evoke the original engravings from Creator/JulesVerne's books.
**''Baron Munchausen'', ''The Stolen Airship'', and ''On the Comet'': the live-action elements were filmed in black and white, but color animation, [[ColorWash color washes]], and [[SplashOfColor splashes of color]] are all added for stylistic reasons.
**''A Jester's Tale'' is in black-and-white, but an article written during filming claimed that it would include color washes like the three films immediately above; ExecutiveMeddling or MoneyDearBoy (or both) may have prevented this effect from being carried out.
**''The Deadly Invention'', to evoke the original engravings from Creator/JulesVerne's books.
**''Baron Munchausen'', ''The Stolen Airship'', and ''On the Comet'': the live-action elements were filmed in black and white, but color animation, [[ColorWash color washes]], and [[SplashOfColor splashes of color]] are all added for stylistic reasons.
**''A Jester's Tale'' is in black-and-white, but an article written during filming claimed that it would include color washes like the three films immediately above; ExecutiveMeddling or MoneyDearBoy (or both) may have prevented this effect from being carried out.
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* SteamPunk: ''The Deadly Invention'', ''The Stolen Airship'', and ''On the Comet'' all qualify. Even ''Baron Munchausen'' has elements of the trope.
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* SpiritualSuccessor: Hardly any film theorist has been able to talk about Zeman without either strongly implying, or deliberately stating, that Zeman is the spiritual successor of Creator/GeorgesMelies.
* SteamPunk: ''The Deadly Invention'', ''The Stolen Airship'', and ''On the Comet'' all qualify. Even ''Baron Munchausen'' has elements of thetrope.trope.
* {{Zeerust}}: Played for {{Retraux}} charm in ''The Deadly Invention'', ''The Stolen Airship'', and ''On the Comet'', befitting their SteamPunk flavor.
* SteamPunk: ''The Deadly Invention'', ''The Stolen Airship'', and ''On the Comet'' all qualify. Even ''Baron Munchausen'' has elements of the
* {{Zeerust}}: Played for {{Retraux}} charm in ''The Deadly Invention'', ''The Stolen Airship'', and ''On the Comet'', befitting their SteamPunk flavor.
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* GeniusBonus: On one level most of Zeman's work is kid-friendly fare, but it tends to go a lot deeper than that. For instance, ''Baron Munchausen'' could be described as a fantasy/adventure love story ... but the script is bursting at the seams with wordplay, there are visual and narrative references to everything from Gustave Doré to Creator/JulesVerne to [[TheCyrano Cyrano de Bergerac]], and the whole thing becomes a comedically played debate about the dignity of the human imagination and the need for art and poetry in a science-obsessed world. Eat your heart out, Creator/TomStoppard.
to:
* GeniusBonus: On one level most of Zeman's work is kid-friendly fare, but it tends to go a lot deeper than that. For instance, ''Baron Munchausen'' could be described as a fantasy/adventure love story ... but the script is bursting at the seams with sophisticated wordplay, there are visual and narrative references to everything from Gustave Doré to Creator/JulesVerne to [[TheCyrano Cyrano de Bergerac]], Theatre/CyranoDeBergerac, and the whole thing becomes a comedically winkingly played debate about the dignity of the human imagination and the need for art and poetry in a science-obsessed world. Eat your heart out, Creator/TomStoppard.
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* ''Vynález zkázy'' (1958, ''An Invention for Destruction''), released in the US as ''The Fabulous World of Jules Verne''
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* ''Vynález zkázy'' (1958, ''The Deadly Invention'' or ''An Invention for Destruction''), released in the US as ''The Fabulous World of Jules Verne''
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!!Tropes common to Zeman and his works include:
* GeniusBonus: On one level most of Zeman's work is kid-friendly fare, but it tends to go a lot deeper than that. For instance, ''Baron Munchausen'' could be described as a fantasy/adventure love story ... but the script is bursting at the seams with wordplay, there are visual and narrative references to everything from Gustave Doré to Creator/JulesVerne to [[TheCyrano Cyrano de Bergerac]], and the whole thing becomes a comedically played debate about the dignity of the human imagination and the need for art and poetry in a science-obsessed world. Eat your heart out, Creator/TomStoppard.
* KeepCirculatingTheTapes: This was the case with Zeman's work for a long time, although the recent Czech DVD releases approved by the Zeman family and produced by Prague's Karel Zeman Museum are beginning to change matters some. The English-speaking world still hasn't gotten its own proper DVD releases of most of the films, however.
* SteamPunk: ''The Deadly Invention'', ''The Stolen Airship'', and ''On the Comet'' all qualify. Even ''Baron Munchausen'' has elements of the trope.
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* Pohádka o Honzíkovi a Mařence (1980, ''The Tale of John and Mary'')
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* Pohádka ''Pohádka o Honzíkovi a Mařence Mařence'' (1980, ''The Tale of John and Mary'')
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A Czech filmmaker (1910–1989) who—despite primitive working conditions, shoestring budgets, near-constant political turmoil in his home country, and Soviet censors breathing down his neck—somehow managed to produce some of the most visually innovative cinematic work of the 20th century.
!!Partial filmography:
* ''Poklad ptačího ostrova'' (1952, ''The Treasure of Bird Island'')
* ''Cesta do pravěku'' (1955, ''Journey to Prehistory''), released in the US as ''Journey to the Beginning of Time''
* ''Vynález zkázy'' (1958, ''An Invention for Destruction''), released in the US as ''The Fabulous World of Jules Verne''
* ''Baron Prášil'' (1961, ''Baron Munchausen''), released in the US as ''The Fabulous Baron Munchausen''
* ''Bláznova kronika'' (1964, ''A Jester's Tale''), released in the US as ''War of the Fools''
* ''Ukradená vzducholoď'' (1967, ''The Stolen Airship'')
* ''Na kometě'' (1970, ''On the Comet'')
* ''Pohádky tisíce a jedné noci'' (1974, ''Tales of 1,001 Nights''), released in the US as ''Adventures of Sinbad the Sailor''
* ''Krabat: Čarodějův učeň'' (1977, ''Krabat: The Sorcerer's Apprentice'')
* Pohádka o Honzíkovi a Mařence (1980, ''The Tale of John and Mary'')
!!Partial filmography:
* ''Poklad ptačího ostrova'' (1952, ''The Treasure of Bird Island'')
* ''Cesta do pravěku'' (1955, ''Journey to Prehistory''), released in the US as ''Journey to the Beginning of Time''
* ''Vynález zkázy'' (1958, ''An Invention for Destruction''), released in the US as ''The Fabulous World of Jules Verne''
* ''Baron Prášil'' (1961, ''Baron Munchausen''), released in the US as ''The Fabulous Baron Munchausen''
* ''Bláznova kronika'' (1964, ''A Jester's Tale''), released in the US as ''War of the Fools''
* ''Ukradená vzducholoď'' (1967, ''The Stolen Airship'')
* ''Na kometě'' (1970, ''On the Comet'')
* ''Pohádky tisíce a jedné noci'' (1974, ''Tales of 1,001 Nights''), released in the US as ''Adventures of Sinbad the Sailor''
* ''Krabat: Čarodějův učeň'' (1977, ''Krabat: The Sorcerer's Apprentice'')
* Pohádka o Honzíkovi a Mařence (1980, ''The Tale of John and Mary'')
