This paper combines theoretical and practical approach of animation studies research. Firstly, it consists of Kashcheeva’s reflection of her own creative process within her critically acclaimed short film Daughter (focusing especially on her innovative use of hand-held camera).

Secondly, this paper puts her experience, methods and practices into wider theoretical context within animation studies, highlighting their close connection to variety of other areas of academic artistic and humanistic research.

And not forgetting Kashcheeva’s own personal dealing with the Czech puppet heritage presented by her teachers at FAMU and also by her knowledge of the traditional “treasures” of Czech animation history.

This paper combines theoretical and practical approach of animation studies research. Firstly, it consists of Kashcheeva’s reflection of her own creative process within her critically acclaimed short film Daughter (focusing especially on her innovative use of hand-held camera).

Secondly, this paper puts her experience, methods and practices into wider theoretical context within animation studies, highlighting their close connection to variety of other areas of academic artistic and humanistic research.

And not forgetting Kashcheeva’s own personal dealing with the Czech puppet heritage presented by her teachers at FAMU and also by her knowledge of the traditional “treasures” of Czech animation history.