Pub Date : 2018-12-01DOI: 10.3366/edinburgh/9780748694112.003.0012
J. Hodgson
This chapter is an autobiographical and critically reflective account of both the making and reception of the first full-length animated documentary made for British television, The Trouble with Love and Sex (2011). The chapter is written by the film’s director, Jonathan Hodgson. The chapter discusses Hodgson’s pre-production concerns regarding animation’s capacity to effectively and engagingly convey subtle nuances of body language on display within emotionally and psychologically complex and challenging spaces (the counselling rooms of Relate, a professional marriage guidance service). The chapter also discusses the highly positive audience response to the finished work, arguing that animated documentary aesthetics and form in fact allowed for notably non-prejudicial, non-judgemental forms of audience engagement with the film’s protagonists. The chapter also discusses at length the pre-production, production, and post-production methodology employed Hodgson and his key collaborators during the making of their film.
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Pub Date : 2018-12-01DOI: 10.3366/edinburgh/9780748694112.003.0008
Nanette Kraaikamp
South African Artist William Kentridge’s Drawings for Projection films animate his charcoal drawings. This chapter analyses Kendridge’s animated film Felix in Exile (1994), for which forty charcoal drawings were amended and filmed during each step of the work’s stop-motion animation process. Felix in Exile addresses the traumatic history of South Africa during apartheid and provides a good meta-level insight into the process of drawing. This chapter explores how Kentridge’s drawing mechanisms and the representation of history, time and memory are interrelated. Questions examined include: How are mechanisms of drawing and animation related to history? How does Felix in Exile mediate time and memory? What is it exactly that causes this film’s affect? This chapter reflects on these questions by using Walter Benjamin’s philosophical texts, On the Concept of History (1942) and On the Mimetic Faculty (1933) in conjunction with theoretical literature on drawing in order to analyse Kentridge’s work.
{"title":"Drawings to Remember","authors":"Nanette Kraaikamp","doi":"10.3366/edinburgh/9780748694112.003.0008","DOIUrl":"https://doi.org/10.3366/edinburgh/9780748694112.003.0008","url":null,"abstract":"South African Artist William Kentridge’s Drawings for Projection films animate his charcoal drawings. This chapter analyses Kendridge’s animated film Felix in Exile (1994), for which forty charcoal drawings were amended and filmed during each step of the work’s stop-motion animation process. Felix in Exile addresses the traumatic history of South Africa during apartheid and provides a good meta-level insight into the process of drawing. This chapter explores how Kentridge’s drawing mechanisms and the representation of history, time and memory are interrelated. Questions examined include: How are mechanisms of drawing and animation related to history? How does Felix in Exile mediate time and memory? What is it exactly that causes this film’s affect? This chapter reflects on these questions by using Walter Benjamin’s philosophical texts, On the Concept of History (1942) and On the Mimetic Faculty (1933) in conjunction with theoretical literature on drawing in order to analyse Kentridge’s work.","PeriodicalId":272749,"journal":{"name":"Drawn from Life","volume":"45 6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129571126","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-01DOI: 10.3366/edinburgh/9780748694112.003.0006
L. Gurevitch
In this chapter Leon Gurevitch discusses computer-generated documentary simulations that function both as spectacular attractions and visual signifiers of expertise and authority. Gurevitch explores the increasing prominence of such images within a variety of documentary contexts since the digital revolution that began during the 1990s. The chapter underscores the extent to which CG-animated documentary spectacles are today routinely encountered within a range of fields, many not readily associated in the popular mind with animated aesthetics, production technologies or histories: military, scientific, architectural and engineering, for example. Gurevitch explains that in the absence of live footage (or even in support of it), animated and simulated spectacle is frequently deployed within documentary film making in the interests of “expertise”. In this sense, CG simulations function to persuade the audience of the time and effort put into making the documentary and therefore act as an index of a given moving image work’s veracity.
{"title":"The Documentary Attraction: Animation, Simulation and the Rhetoric of Expertise","authors":"L. Gurevitch","doi":"10.3366/edinburgh/9780748694112.003.0006","DOIUrl":"https://doi.org/10.3366/edinburgh/9780748694112.003.0006","url":null,"abstract":"In this chapter Leon Gurevitch discusses computer-generated documentary simulations that function both as spectacular attractions and visual signifiers of expertise and authority. Gurevitch explores the increasing prominence of such images within a variety of documentary contexts since the digital revolution that began during the 1990s. The chapter underscores the extent to which CG-animated documentary spectacles are today routinely encountered within a range of fields, many not readily associated in the popular mind with animated aesthetics, production technologies or histories: military, scientific, architectural and engineering, for example. Gurevitch explains that in the absence of live footage (or even in support of it), animated and simulated spectacle is frequently deployed within documentary film making in the interests of “expertise”. In this sense, CG simulations function to persuade the audience of the time and effort put into making the documentary and therefore act as an index of a given moving image work’s veracity.","PeriodicalId":272749,"journal":{"name":"Drawn from Life","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125348331","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-01DOI: 10.3366/edinburgh/9780748694112.003.0005
Paul Ward
In this chapter Paul Ward focuses particularly on the concept of re-enactment, arguing that it raises varied questions about the nature of performance, agency, point of view and temporality within animated documentary. Ward grounds his theoretical speculations and conceptual distinctions in close readings of two animated documentaries, Andersartig (2011) and The Children of the Holocaust (2014), both of which depict individual childhood memories of living in Nazi-era Germany. He concludes that works such as these encourage audiences and critics alike to understand and engage with animated documentary as a filmmaking mode able to portray intangible, often non-indexical (and therefore un-photographable) documentary phenomena.
{"title":"Animated Documentary, Recollection, ‘Re-enactment’ and Temporality","authors":"Paul Ward","doi":"10.3366/edinburgh/9780748694112.003.0005","DOIUrl":"https://doi.org/10.3366/edinburgh/9780748694112.003.0005","url":null,"abstract":"In this chapter Paul Ward focuses particularly on the concept of re-enactment, arguing that it raises varied questions about the nature of performance, agency, point of view and temporality within animated documentary. Ward grounds his theoretical speculations and conceptual distinctions in close readings of two animated documentaries, Andersartig (2011) and The Children of the Holocaust (2014), both of which depict individual childhood memories of living in Nazi-era Germany. He concludes that works such as these encourage audiences and critics alike to understand and engage with animated documentary as a filmmaking mode able to portray intangible, often non-indexical (and therefore un-photographable) documentary phenomena.","PeriodicalId":272749,"journal":{"name":"Drawn from Life","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122369658","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-01DOI: 10.3366/edinburgh/9780748694112.003.0013
Samantha Moore
This chapter is written from, and critically examines, the creative and ethical perspectives of animated documentary practitioners. The author, Samantha Moore, focuses particularly on collaboratively ethnographic approaches to, and examples of, animated documentary filmmaking. This chapter asks to what extent the frame within an animated documentary can become a collaborative, co-authored space that creates truly dialogic images. It also enquiries as to how practitioners do or could go about creating, negotiating and sustaining such forms of collaboration. The chapter discusses key examples from the filmmaking practices of the author and her peers, including Shira Avni, who works with the Down syndrome and autistic communities. It does so in order to outline what impacts different forms of collaborative filmmaking approach might have for audience, filmmakers, and documentary subject-participants, especially in the contexts of documentary films that aim to give a voice to marginalised and unrepresented human perspectives.
{"title":"‘Does this look right?’ Working Inside the Collaborative Frame","authors":"Samantha Moore","doi":"10.3366/edinburgh/9780748694112.003.0013","DOIUrl":"https://doi.org/10.3366/edinburgh/9780748694112.003.0013","url":null,"abstract":"This chapter is written from, and critically examines, the creative and ethical perspectives of animated documentary practitioners. The author, Samantha Moore, focuses particularly on collaboratively ethnographic approaches to, and examples of, animated documentary filmmaking. This chapter asks to what extent the frame within an animated documentary can become a collaborative, co-authored space that creates truly dialogic images. It also enquiries as to how practitioners do or could go about creating, negotiating and sustaining such forms of collaboration. The chapter discusses key examples from the filmmaking practices of the author and her peers, including Shira Avni, who works with the Down syndrome and autistic communities. It does so in order to outline what impacts different forms of collaborative filmmaking approach might have for audience, filmmakers, and documentary subject-participants, especially in the contexts of documentary films that aim to give a voice to marginalised and unrepresented human perspectives.","PeriodicalId":272749,"journal":{"name":"Drawn from Life","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129318174","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-01DOI: 10.3366/edinburgh/9780748694112.003.0003
Mihaela Mihailova
Mihaela Mihailova examines the role and functions of the drawn image within early-twentieth-century scientific and educational media texts (in this case, a range of 1920s educational animated short films). Exploring seminal names from animation history, such as Bray Productions and the Fleischer brothers, Mihailova demonstrates the contemporary resonances and applications of these works. The chapter examines a range of foundational trends, methods and approaches that subsequently shaped animated documentary during the nine decades since the advent of sound. Examining the functions which the drawn image fulfils, animation is seen as a metacommentary on its own expressive limitations, as well as those of nonfiction, foregrounding the challenges of conveying reality by means of a single representational mode. At once liberated from the concreteness of the photographic record and limited in their abstraction by the requirements of scientific content, these films occupy a position between mechanical recording and pure artistic creation.
{"title":"Before Sound, there was Soul: The Role of Animation in Silent Nonfiction Cinema","authors":"Mihaela Mihailova","doi":"10.3366/edinburgh/9780748694112.003.0003","DOIUrl":"https://doi.org/10.3366/edinburgh/9780748694112.003.0003","url":null,"abstract":"Mihaela Mihailova examines the role and functions of the drawn image within early-twentieth-century scientific and educational media texts (in this case, a range of 1920s educational animated short films). Exploring seminal names from animation history, such as Bray Productions and the Fleischer brothers, Mihailova demonstrates the contemporary resonances and applications of these works. The chapter examines a range of foundational trends, methods and approaches that subsequently shaped animated documentary during the nine decades since the advent of sound. Examining the functions which the drawn image fulfils, animation is seen as a metacommentary on its own expressive limitations, as well as those of nonfiction, foregrounding the challenges of conveying reality by means of a single representational mode. At once liberated from the concreteness of the photographic record and limited in their abstraction by the requirements of scientific content, these films occupy a position between mechanical recording and pure artistic creation.","PeriodicalId":272749,"journal":{"name":"Drawn from Life","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115745237","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-01DOI: 10.3366/edinburgh/9780748694112.003.0002
P. Lefèvre
This chapter provides a wide-ranging account of animated documentary cinema’s evolution, one which relates that ongoing history to analogous developments in related fields including live-action documentary, painting, photography and New Journalism. By their overt artificial nature animated documentaries seem to challenge the traditional documentary epistemology. Lefèvre considers the extent to which established Film Studies conceptual and analytical paradigms offer pre-existing tools that contemporary scholars can readily transpose to the study of animated documentary. This essay questions if the animated documentaries still fit in the six categories or modes of documentary film production that Bill Nichols defined: the poetic, the expository, the observational, the participatory, the reflexive, and the performative mode. This chapter highlights many of the critical and conceptual questions which that partially obscured history raises, laying out ten distinct sets of logistical, aesthetic and ideological issues that repeatedly manifest themselves across the history of animated documentary filmmaking.
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Pub Date : 2018-12-01DOI: 10.3366/edinburgh/9780748694112.003.0014
Sheila M. Sofian
In this chapter, Sheila M. Sofian examines animated documentary from a filmmaker’s perspective. This chapter explores the appropriateness of animation’s use within nonfiction film. This chapter also asks how and when animation’s use might enhance audience understanding of a given documentary topic, and how and when it might distract from the same. The chapter also examines whether animation’s use in documentary reveals the filmmaking process in a more overt fashion than witnessed within live action documentary, and what controversies arise as a result. This chapter discusses these and other issues through reflective accounts of the production and exhibition of Sofian’s own animated documentary films. In discussing these works, this chapter examines the creative process of animated documentary production and the unique challenges faced when producing non-fiction animated films. The relationship between sound and image, choice of animation technique, and the effectiveness of literal versus abstract imagery are all topics explored.
在本章中，Sheila M. Sofian从电影制作人的角度审视了动画纪录片。本章探讨了动画在非虚构电影中的恰当性。本章还探讨了动画的使用如何以及何时可以增强观众对给定纪录片主题的理解，以及如何以及何时可以分散观众的注意力。本章还研究了动画在纪录片中的使用是否比在真人纪录片中更公开地揭示了电影制作过程，以及由此产生的争议。本章通过反思索菲亚自己的动画纪录片的制作和展览来讨论这些问题和其他问题。在讨论这些作品时，本章考察了动画纪录片制作的创作过程以及制作非虚构动画电影时面临的独特挑战。声音与图像之间的关系，动画技术的选择，以及文字与抽象图像的有效性都是探讨的主题。
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Pub Date : 2018-12-01DOI: 10.3366/edinburgh/9780748694112.003.0010
L. Martinelli
This chapter discusses three animated documentaries by filmmaker Jonas Odell: Never Like the First Time! (2006), Lies (2008), and Tussilago (2010). Comparative analysis establishes many of the criteria against which these films are generally considered to be examples of animated documentary practice. In all three works, documentary audio interviews are integrated as voiceover and form the foundations on which Odell as animator-filmmaker visually “packages” interviewees’ stories in ways that render them more interesting and attractive to audiences. As with many other animated documentaries, Odell’s stylistic and technical choices strike a balance between aesthetic aspiration and documentary responsibility to the sense and meaning of his interviewees’ stories. Odell’s filmmaking choices exemplify animated documentary’s distinctive capacity to translate complex communicational codes and data – for example, interviewees’ experiences of memory, the varied styles of their spoken narrations, and the subjective quality of Odell’s interpretations of their testimonies – into concrete, highly distinctive audio-visual forms.
本章讨论了电影制作人乔纳斯·奥德尔的三部动画纪录片:《Never Like the First Time!》(2006)、Lies(2008)和Tussilago(2010)。比较分析建立了许多标准，这些电影通常被认为是动画纪录片实践的例子。在这三部作品中，纪录片音频采访都被作为画外音整合在一起，并构成了奥德尔作为动画制作人在视觉上“包装”受访者故事的基础，使他们更有趣，更吸引观众。与许多其他的动画纪录片一样，奥德尔在风格和技术上的选择在审美渴望和纪录片责任之间取得了平衡，以体现他的受访者的故事的意义和意义。奥德尔的电影制作选择体现了动画纪录片的独特能力，将复杂的交流代码和数据——例如，受访者的记忆经历，他们口述的不同风格，以及奥德尔对他们证词的主观解释——转化为具体的，高度独特的视听形式。
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Pub Date : 2018-12-01DOI: 10.3366/edinburgh/9780748694112.003.0007
P. Wells
Paul Wells offers a critical-autobiographical account, augmented by a consistently surprising and thought-provoking range of cross-disciplinary case study examples, of his active and path-breaking engagement in animated documentary theory and production since the early 1990s. Wells engages with the critical literature surrounding the concept and practice of animated documentary but focuses more on the ways in which animation can act as an enabling conduit for a range of visual and/or narrative arts, offering a creative toolbox that supports practitioners engaged in documentary work across a range of disciplines. This chapter advances three central insights: the increasingly multi-disciplinary nature of contemporary visual, literary and popular cultures; the notable aesthetic and ideological potentialities possessed by polyvocal, multi-disciplinary and multi-register creative practices and strategies; and animated documentary’s privileged position at the forefront of present-day re-theorisations of a range of foundational documentary concepts, such as the repository, the record and the archive.
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