Relevant bibliographies by topics / Animated documentary

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Animated documentary'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Animated documentary"

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Strøm, Gunnar. "Animated documentary." Studies in Documentary Film 9, no. 1 (2015): 92–94. http://dx.doi.org/10.1080/17503280.2014.1002253.

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Forceville, Charles. "Animated Documentary." Journal of Pragmatics 89 (November 2015): 66–68. http://dx.doi.org/10.1016/j.pragma.2015.09.008.

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Strøm, Gunnar. "The animated documentary." Norsk medietidsskrift 8, no. 02 (2001): 51–65. http://dx.doi.org/10.18261/issn0805-9535-2001-02-04.

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Roe, Annabelle Honess. "Absence, Excess and Epistemological Expansion: Towards a Framework for the Study of Animated Documentary." Animation 6, no. 3 (2011): 215–30. http://dx.doi.org/10.1177/1746847711417954.

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This article gives an overview of the history of animated documentary, both in regard to the form itself and how it has been studied. It then goes on to present a new way of thinking about animated documentary, in terms of the way the animation functions in the texts by asking what the animation does that the live-action alternative could not. Three functions are suggested: mimetic substitution, non-mimetic substitution and evocation. The author suggests that, by thinking about animated documentary in this way, we can see how animation has broadened and deepened documentary’s epistemological project by opening it up to subject matters that previously eluded live-action film.
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Moon, Won-Leep. "A Study on Animated Documentary." Film Studies ll, no. 57 (2013): 61–80. http://dx.doi.org/10.17947/kfa..57.201309.003.

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Fore, Steve. "Reenacting Ryan: The Fantasmatic and the Animated Documentary." Animation 6, no. 3 (2011): 277–92. http://dx.doi.org/10.1177/1746847711416561.

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In this article, the author discusses the animated documentary in relation to the use of staged reenactments in works that are generally understood as documentaries. His conceptual foundation draws especially on recent work by Bill Nichols on documentary reenactments, which he argues have specific ‘fantasmatic’ and reflexive qualities. These qualities clearly dovetail with key attributes of animation, with the animated documentary standing as a significant and interestingly hybrid creative form. Key ideas are applied to a case study of Chris Landreth’s Ryan (2004), in which Landreth deploys fantasmatic visual flourishes partly in order to destabilize the documentary’s conventional discourse of sobriety, pushing it in the direction of its mirroring discourse of delirium, and partly to explore the current status of animation (and animation tools) in the realm of visual simulation.
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Danta, Susan. "Animated Documentary, by Annabelle Honess Roe." Alphaville: Journal of Film and Screen Media, no. 8 (February 9, 2015): 96–100. http://dx.doi.org/10.33178/alpha.8.07.

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Ward, Paul. "Animating with Facts: The Performative Process of Documentary Animation in the ten mark (2010)." Animation 6, no. 3 (2011): 293–305. http://dx.doi.org/10.1177/1746847711420555.

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This article examines how animated films re-present and re-interpret real world occurrences, people and places, focusing on an area that has been overlooked to date: the process of performance and how this manifests itself in animated documentary films. Not simply a notion of ‘performance’ as we might understand it in an ‘acting’ sense (someone playing a role in a re-enactment), but that of the animator performing specific actions in order to interpret the factual material. The central questions addressed are: how does an understanding of ‘performance’ and the related term ‘performativity’ help us to frame animated/nonfictional acting? What ontological questions are raised by thinking about notions of acting in animation (and the performance instantiated in the very action of animating)? How do viewers relate to, interpret or ‘believe in’ animated films that are asserting real/factually-based stories? The article uses a recent film, the ten mark, as a case study to explore possible answers to these questions.
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MacKinnon, Carla. "Book review: Annabelle Honess Roe, Animated Documentary." Animation 11, no. 3 (2016): 321–25. http://dx.doi.org/10.1177/1746847716662546.

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Ekinci, Barış Tolga. "A hybrid documentary genre: Animated documentary and the analysis of Waltz with Bashir (2008) Movie." CINEJ Cinema Journal 6, no. 1 (2017): 4–24. http://dx.doi.org/10.5195/cinej.2017.144.

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The word documentary has been described as an advice” in “Oxford English Dictionary” in the late 1800s. Document is a main source of information for lawyers. And in cinema, basic film forms are defined with their own properties. The common sense is to separate documentary from fiction, experimental from main current and animation from the live action films. While these definitions were being made, it has been considered that which expression methods were used. The film genre which is called documentary has been defined in many different ways. In this study, animated documentary genre which is a form of hybrid documentary has been concerned with Baudrillard’s theory. In this context, Ari Folman’s animated documentary Waltz with Bassir (2008) has been analyzed with genre criticism method.
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Dissertations / Theses on the topic "Animated documentary"

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Ehrlich, Nea E. "Animated realities : from animated documentaries to documentary animation." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/25699.

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My thesis on contemporary animated documentaries links new media aesthetics with the documentary turn in contemporary visual culture. Drawing from the fields of Contemporary Art, Animation, Film Studies and Gaming Theory, my aim has been to explore the development of animated documentaries in the context of animation's intersection with other visual fields in a very specific technological moment of the past two decades in order to broaden the scope within which animation is analysed and understood. The starting point of my research was the widely accepted divide assumed to exist between animation and documentary. I, however, claim that the supposedly contradictory nature of animated documentaries can no longer be considered a given. Despite the potentially challenging reception of animated documentaries, it is important to identify what it is that the animated image contributes to documentary, which is the visualisation of what is otherwise un-representable. My thesis investigates a new area of the intangible, focusing on the virtualisation of culture rather than on subjective or imaginary aspects of documentary works and visual interpretations. This cultural shift consequently requires new aesthetics of documentation that exceed the capacities of the photographic. My main argument is that due to contemporary technological changes, animation has permeated real contexts of daily life to the extent that it has become disassociated from the realm of fiction. Rather, in altering the way viewers are becoming accustomed to observing, learning about and connecting with reality, animation has brought about a constitutive change in ways of seeing one's world. This change can be described as animation’s impact on the relation between visual signification and believability. It is this which necessitates a reconsideration of what shapes a sense of realism in documentaries today. My research therefore culminates with new conceptualisations concerning the cultural role of animation, introducing what I argue is the formation of the "animated document" and "documentary animation". In these contexts, animation is no longer an interpretive visualisation substituting for photography but a direct capturing of animated realities. Animation thus expands what is considered to constitute reality and, as a result, also destabilises assumptions about the perceived conflict between animation and documentary, widening the sphere of documentary aesthetics.
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MARTINS, INDIA MARA. "ANIMATED DOCUMENTARY: EXPERIMENTATION, TECHNOLOGY AND DESIGN." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2009. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=13765@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>FUNDAÇÃO DE APOIO À PESQUISA DO ESTADO DO RIO DE JANEIRO<br>O objetivo desta tese é refletir sobre o documentário animado. Um produto audiovisual que mistura documentário e animação e está redefinindo o papel do design na produção das novas mídias. Mostramos também que o documentário animado reacende uma série de debates e reflexões relativas à teoria do documentário e da animação em relação às concepções de realismo. A nossa principal premissa é que o documentário sempre se apropriou da tecnologia de forma a favorecer a experimentação e, o documentário animado, em 3D, é a sua forma de se apropriar das tecnologias digitais. Para comprovar esta hipótese mostramos como a experimentação da tecnologia se deu no documentário em diferentes épocas, mais precisamente nos períodos do primeiro cinema, das vanguardas e da escola britânica – de 1900 a 1930, os anos de 1960, e os anos de 1990 (novas mídias). O que nos interessa é investigar esta relação entre os meios de produção utilizados na realização do documentário – quer tenham esta denominação ou não – e os modos de representação e estilos resultantes da tecnologia de cada época, que pretendemos delinear brevemente. O Design está presente nos dois aspectos: nos meios de produção, por sua tradição ligada ao desenvolvimento de tecnologias e instrumentos para viabilizar a produção, e nos modos de representação, porque as referências estéticas da animação são oriundas das artes gráficas (quadrinhos, ilustrações, etc). Isto também explica, em parte, a ausência da animação na teoria do cinema, aspecto que questionamos, mostrando como a animação está contemplada na teoria Deleuziana. Para concluir, fazemos um estudo de caso de um documentário animado emblemático, por sua abordagem da tecnologia 3D. Ryan (2004), de Chris Landreth, resume o potencial do documentário animado enquanto experimentação da tecnologia, intensidade narrativa e estética não figurativa, em singular referência ao pintor Francis Bacon.<br>The objective of this thesis is to reflect on the animated documentary. An audiovisual product that mixes both documentary and animation and is redefining the role of the design in the production of new media. We also show that the animated documentary rekindled a series of debates and reflections related to documentary s theory and realism concepts in animation. Our main premise is that the documentary has always appropriated of technology in order to allow experimentation, and the animated documentary, in 3D, is the way to appropriate itself of digital technologies. To prove this hypothesis, we show how the trial of the technology occurred in documentary s history at different times, more precisely during the periods of the early cinema, the vanguards and the British School – from 1900 to 1930, the 1960 s and the 1990 s (new media). What concern us is to investigate this relationship between the means of production used in the making of documentary movies – having this denomination or not – and ways of representation and styles resulting from the technology of each period, which we intend to outline briefly. The Design is present in both two aspects: in the means of production – for its tradition related to the development of technologies and tools to make production viable – and in the ways of representation, since the aesthetic references of animation cinema came from the graphic arts (comics, illustration, etc.). This also explains, partially, the absence of animation in cinema s theory, an aspect that we question, showing how animation is included in Deleuze s cinema s theory. Finally, we develop a case study of an emblematic animated documentary, for its approach to the 3D technology. Chris Landreth s Ryan (2004) is a synthesis of potential of the animated documentary as technological experimentation, narrative intensity and non-figurative aesthetic, in a unique reference to the painter Francis Bacon.<br>Cette thèse a le but de réfléchir sur le documentaire animé. Un produit audiovisuel qui mélange documentaire et animation et qui est en train de redéfinir le rôle du design dans la production des nouveaux médias. Nous montrons que le documentaire animé rallume une série de débats et de réflexions sur la théorie du documentaire et de l animation concernant les conceptions du réalisme. Notre principale prémisse est que le documentaire s est toujours approprié de la technologie de manière à favoriser l expérimentation, et le documentaire animé en 3D est la façon dont il s approprie des technologies numériques. Pour prouver cette hypothèse, nous montrons comment s est déroulée l expérimentation de la technologie dans le documentaire dans de différentes époques, plus précisément durant les périodes du premier cinema, les avant-gardes et l école britannique −de 1900 à 1930, les années 1960 et 1990 (nouveaux médias). Ce qui nous intéresse c est d étudier la relation entre les moyens de production utilisés dans la réalisation du documentaire –que ce soit avec cette dénomination ou pas− et les manières de représentation et de styles résultant de la technologie de chaque période, que nous prétendons ébaucher brièvement. Le design est présent dans deux aspects: dans les moyens de production, par sa tradition liée au développement de technologies et d outils pour faciliter la production, et dans les manières de représentation, parce que les références esthétiques de l animation sont des arts graphiques (bandes dessinées, illustrations etc.). Ceci aussi explique, en partie, l absence de l animation dans la théorie du cinéma, un aspect que nous questionons, en montrant comment l animation est envisagée dans la théorie deleuzienne. Pour conclure, nous faisons une étude de cas d un documentaire animé emblématique, par son traitement de la technologie 3D. Ryan (2004), de Chris Landreth, résume le potentiel du documentaire animé tout en expérimentant avec la technologie, l intensité narrative et l esthétique non figurative, en singulière référence au peintre Francis Bacon.
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Lee, Hyunseok. "Representing Korean Buddhist art and architecture : a 3D animated documentary installation." Thesis, Loughborough University, 2011. https://dspace.lboro.ac.uk/2134/9420.

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This practice-led research One Mind - seeks to represent Korean Buddhist architectural aesthetics and Buddhist spiritual ideas using the animated documentary genre as a form of creative representation. It is intended that the piece be shown either as an installation in a gallery, or within a museum or cultural exhibition context. The key goal is to offer this digital artwork to European audiences, in a spirit of engendering the same feeling state as when present in the real monastery, encouraging an understanding of the sacred, and experiencing a form of transcendence. My art work in some ways functions as a digital restoration of sacred architecture outside its real environment and context, and seeks to document cultural heritage and knowledge. One Mind is different from a classic form of documentary, though, because it does not echo the idea of documentary based on live-action footage as a mode of non-fiction record and expression. I have particularly stressed the suggestiveness of the architectural aesthetics and the philosophic principles embedded in the environment. I have sought to bring my own subjective artistic interpretation to Korean Buddhism accordingly, resisting typical character animation and classical narrative, seeking instead, to encourage the viewer to be part of the environment. I focus on the meaning in Buddhist buildings and the landscape they are part of, and dramatise the environment, using the poetic tone of the voice over performance, the sound track of Buddhist chanting, and the visual effects and perspectives of computer generated imagery. This digital visualisation of the Buddhist s spiritual world is informed by a Buddhist s traditional way of life, but, most importantly, by my own past experience, feelings and memory of the Buddhist monastery compound, as a practising artist. My thesis is categorised into eight chapters. Chapter One offers an overview of the aims and objectives of my project. Chapter Two identifies my research questions and my intended methodology. Chapter Three focuses on important background knowledge about Korea s natural and cultural aspects and conditions. Chapter Four offers an analysis of the issue of the Korean cultural identity, suggesting that a more authentic image of Korea and Korean-ness is available in the philosophy and spiritual agenda of Buddhism. Chapter Five addresses the practical ways in which digital restoration of architecture has taken place, identifying three previous cases which both resemble and differ from my own project. Chapter Six looks at the specific characteristics of Korean Seon Buddhism and architecture, and engages with three theoretical approaches about the spatial composition of the monastery, and the ways it may help in constructing the monastery in a digital environment. Chapter Seven offers an evaluation and validation of my artwork, having adopted the approach of creating an animated spiritual documentary to reveal Buddhist philosophy and experience as a model of Korean cultural identity. Chapter Eight offers some conclusions about my intention, process and outcomes.
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Gantzer, George Edward IV. "Discovering the Process of Creating an Animated Biography." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1262110820.

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Scheuermann, Melina. "Animated Memories : A case study of the animated documentary 'Saydnaya – Inside a Syrian Torture Prison' (2016) and its potential within social memory." Thesis, Stockholms universitet, Filmvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-185061.

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Through its ability to create images of non-representable incidents animation expands the range and depth of what documentary can represent and how. This master thesis investigates the potential of animated documentary within social memory exemplified by the interactive animated documentary Saydnaya – Inside a Syrian Torture Prison (Forensic Architecture, 2016). By applying a feminist spatial approach, I aim to contribute to the understanding of the role of animated documentary images within social memory.Embodied and haptic spectatorship as well as haptic materiality are crucial in this case study due to the nature of the virtual screen images and interactive navigation (compared to montage) of the architectural 3D model. Testimonies and evidence presented in documentary film require a discursive establishment of truth. Indexicality is discussed in this regard and eventually a theoretical shift towards movement suggested. I demonstrate that Saydnaya extends the strategies in animated documentary that have been in focus so far, such as representing mental states and subjective experiences, by deploying methods of forensic aesthetics. This opens up novel ways to establish truth claims and persuasion in documentary filmmaking that require future research.
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Park, Man Ki. "The Strange Case of the Animated Jekyll and the Online Hyde : a documentary study of Korean youth culture and identity." Thesis, Loughborough University, 2015. https://dspace.lboro.ac.uk/2134/19665.

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Robert Louis Stevenson s The Strange Case of Dr Jekyll and Mr Hyde (1886) is the starting point for my practice-led research project. Stevenson's Victorian novella enables me to identify core themes which are pertinent to a discussion of the construction of contemporary identities in Korean youth culture. These identities are exemplified in the creation of avatars the virtual characters of animated online games such as massively multiplayer online role-playing games (MMORPGs). My animation practice is developed by addressing how Jekyll and Hyde provides useful critical and creative tools, such as gothic imagery and detective thrillers, for looking at the double . This concept is used to investigate the case of a young Korean boy, addicted to online gaming, who committed violent acts. My animated drama-documentary draws on research into the real and virtual Korean worlds and employs a visual ethnographic methodology to test my research question: in what ways can the construction of 'identity' (based on concepts drawn from 'Jekyll and Hyde') be identified in contemporary 'virtual' media (i.e. 'MMORPGs'/the 'animated' documentary), and how does this facilitate an address of the specific case of 'Korea' and 'Korean-ness'? The thesis is structured into five chapters: The Idea of Dr Jekyll and Mr Hyde, Theorising Identities in a Korean Context, Theorising Visual Ethnography, Theorising Animated Drama-Documentary, and A Film Practice as Animated Drama-Documentary in Visual Ethnography. Evidence of the research process and findings is located in a series of appendices. Theories about the construction of identity are discussed from three different perspectives: sociology, psychoanalysis and bio-culturalism. In my film practice, I look for the connection between the anxious self and Korean social issues, such as modernisation and the 1997 IMF economic crisis, to account for Korean youth s identity formation through online gaming. My research shows that many South Korean MMORPG users construct identity within contemporary virtual media and that this contributes to a very complex Korean-ness amongst Korean youth. Online gaming has both positive and negative consequences. Immersion in the virtual world can lead to addiction and to the violence which is at the core of my film narrative. It can also result in close online friendships, offering kinship not available in many broken families, or families inhibited in their communication by social roles and expectations, or the effect of economic failure and loss. My practice criticises young Korean people's narrow and limited social environment and proves that they desire liberal expression and decision-making for themselves, which can be experienced through the embodiment of animated avatars in MMORPGs. Hence, the online Hyde , though assumed to be a negative or destructive force, is actually a vehicle for varied and numerous social identities for youth culture preferable to those available in real Korean society. The research mounts a critique of the meaning of the online Hyde , not as a misrepresentative and negative representation of Korean-ness, but as a revelation of its contemporary meaning which can be articulated though animation, a tool which has applications within visual ethnography.
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Baker, Jeremy Charles. "Observational Animation: An Exploration of Improvisation, Interactivity and Spontaneity in Animated Filmmaking." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1357315576.

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Moore, Samantha. "Out of sight : using animation to document perceptual brain states." Thesis, Loughborough University, 2015. https://dspace.lboro.ac.uk/2134/18020.

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It is acknowledged that the genre of animated documentary is particularly suited to depicting the subjective point of view (Wells, 1997, Honess Roe, 2013). It has also been suggested that animated documentary may have a tendency toward collaborative working methods (Ward, 2005: 94). This PhD work explores and expands these suggestions and presents the development of a methodology adapted from what has been termed collaborative ethnography (Lassiter, 2005) when using animation to document perceptual brain states. The claim to originality in this thesis lies in the methodological approach taken through the documenting of idiopathic perceptual brain states, previously unrepresented in animation. It involves a shifting of the roles of subject and director to collaborative consultant and facilitator respectively, and differentiates between the recording of an animated document and the creation of an animated documentary . It rejects the sound reliant template of the 'animated interview' (Strøm, 2005: 15) as the dominant model of creating animated documents, which assumes both that the indexical is crucial to documenting, and that this can only be achieved in animation through the use of indexical sound. It agrees with Tom Gunning s argument that Charles Sanders Pierce's original idea of the index as part of an interconnected triad of signs (index, symbol and icon) has been abstracted from its richer signifying context and extracted a simplified version of what Pierce intended it to mean (a trace or impression left by an object) to become a 'diminished concept' (2007:30-1), essentially a short hand coda in this instance for document . The practice in this work challenges this by presenting an alternative; using a collaborative cycle methodology.
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Souza, Maria Ines Dieuzeide Santos. "A memória assombrada : Um estudo da autorrepresentação no documentário animado Valsa com Bashir." Universidade Federal de São Carlos, 2012. https://repositorio.ufscar.br/handle/ufscar/5601.

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Made available in DSpace on 2016-06-02T20:23:13Z (GMT). No. of bitstreams: 1 4691.pdf: 2672221 bytes, checksum: 5c15554d9ac45df13043164fc0e2e67e (MD5) Previous issue date: 2012-05-02<br>Financiadora de Estudos e Projetos<br>This work aims to discuss processes of self-representation in animated documentaries, from the analysis of the film Waltz with Bashir (Ari Folman, 2008). With this analysis, it seeks to understand modes of articulation between the field of documentary and animation, using elements of both as a possibility of self-representation in films that are related to the shared historic world. For this purpose, it develops a reflection on the establishment of different perspectives in the field of documentary studies and the ways available for animation to create representations. In addition, it dialogues with the various historical and conceptual approaches about the animated documentary, developed significantly over the past fifteen years. Finally, it develops a critical analysis of what Bill Nichols (1994) calls performative documentary and the considerations of Michael Renov (2004) about documentaries that deal with the autobiographical, to understand the animation as a way to put the director in history and establish a continuity with the past, weaving relationships between elements of documentary and animated images that provide other senses to the reported.<br>Esta dissertação tem como objetivo discutir processos de autorrepresentação em documentários animados, a partir da análise do filme Valsa com Bashir (Ari Folman, 2008). Com a análise deste longa-metragem, busca-se compreender modos de articulação entre o campo do documentário e o da animação, aproveitando elementos de ambos enquanto possibilidade de autorrepresentação em filmes que se remetem ao mundo histórico compartilhado. Para tanto, desenvolveu-se uma reflexão acerca do estabelecimento de diferentes perspectivas do campo do documentário nos estudos teóricos e as maneiras disponíveis à animação para criar representações. Além disso, dialoga-se com as várias abordagens históricas e conceituais acerca do documentário animado, que ganham corpo mais expressivo nos últimos quinze anos. Por fim, desenvolve-se uma leitura crítica das análises de Bill Nichols (1994) sobre os documentários performáticos e das considerações de Michael Renov (2004) acerca de documentários que lidam com o autobiográfico, para compreender a animação como uma forma do realizador se colocar na história e estabelecer uma continuidade com o passado, tecendo relações entre imagens animadas e elementos documentais que proporcionam outros sentidos aos relatos.
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Guinikoukou, Nangui Reine. "Evolution de la réglementation sur l'interdiction des farines animales en Europe /." Villeurbanne : ENSSIB, 2001. http://www.enssib.fr/bibliotheque/documents/dpssib/rrbguinikoukou.pdf.

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Rapport de recherche bibliographique (DPSSIB) : Ecole nationale supérieure des sciences de l'information et des bibliothèques : Villeurbanne (France) : 2001.<br>DPSSIB = Diplôme professionnel supérieur en sciences de l'information et des bibliothèques. Notes bibliogr.
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Books on the topic "Animated documentary"

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Roe, Annabelle Honess. Animated Documentary. Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137017468.

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Animated realism: A behind the scenes look at the animated documentary genre. Focal, 2012.

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Poslanie k cheloveku: XV Mezhdunarodnyĭ kinofestivalʹ dokumentalʹnykh korotkometrazhnykh igrovykh i animat︠s︡ionnykh filʹmov, 15-22 ii︠u︡ni︠a︡ 2005 = Message to Man : XV International Documentary, Short, and Animated Films Festival, St. Petersburg, June 15-22, 2005. [s.n.], 2005.

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Learning from Mickey, Donald and Walt: Essays on Disney's edutainment films. McFarland, 2011.

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Moscati, Massimo. Dizionario delle video cassette: Tutti i titoli in commercio : film, cartoni animati, documentari, i videoregistratori, installazione, uso e manutenzione, i videosistemi. Biblioteca universale Rizzoli, 1990.

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Animated Documentary. Palgrave Macmillan, 2013.

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Classical Animated Documentary and Its Contemporary Evolution. Bloomsbury Publishing Plc, 2020.

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Kvikmyndasjóður, ed. Icelandic documentaries: Shorts and animated films, 1966-1991. Kvikmyndasjóður Íslands, 1991.

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Drawn from Life: Issues and Themes in Animated Documentary Cinema. Edinburgh University Press, 2018.

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Murray, Jonathan, and Nea Ehrlich. Drawn from Life: Issues and Themes in Animated Documentary Cinema. Edinburgh University Press, 2020.

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Book chapters on the topic "Animated documentary"

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Roe, Annabelle Honess. "Animated Interviews." In Animated Documentary. Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137017468_4.

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Roe, Annabelle Honess. "Animated Memories." In Animated Documentary. Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137017468_6.

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Roe, Annabelle Honess. "Introduction." In Animated Documentary. Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137017468_1.

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Roe, Annabelle Honess. "Representational Strategies." In Animated Documentary. Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137017468_2.

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Roe, Annabelle Honess. "Digital Realities." In Animated Documentary. Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137017468_3.

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Roe, Annabelle Honess. "The World in Here." In Animated Documentary. Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137017468_5.

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Roe, Annabelle Honess. "Afterword." In Animated Documentary. Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137017468_7.

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Roe, Annabelle Honess. "The Evolution of Animated Documentary." In New Documentary Ecologies. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137310491_12.

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Glynne, Andy. "Drawn From Life: The Animated Documentary." In The Documentary Film Book. British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92625-1_7.

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Greenberg, Slava. "(Dis)abling the Spectator: Embodying Disability Experience in Animated Documentary." In Documentary and Disability. Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-59894-3_9.

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Conference papers on the topic "Animated documentary"

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Li, Shu, and Maohua Li. "Analysis on the Art Therapy Function of Animated Documentary Films." In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.113.

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Ionescu, Bogdan, Christoph Rasche, Laura Florea, Constantin Vertan, and Patrick Lambert. "Classifying documentary, music, news and animated genres with temporal, color and contour information." In 2011 10th International Symposium on Signals, Circuits and Systems (ISSCS). IEEE, 2011. http://dx.doi.org/10.1109/isscs.2011.5978722.

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Guo, ChunNing Maggie. "Hard Life with Memory: Prison as a Narrative Space in Animated Documentary and Virtual Reality." In 2019 IEEE 2nd Workshop on Animation in Virtual and Augmented Environments (ANIVAE). IEEE, 2019. http://dx.doi.org/10.1109/anivae47543.2019.9050928.

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