Journal articles: 'Animated documentary'

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Strøm, Gunnar. "Animated documentary." Studies in Documentary Film 9, no. 1 (January 2, 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 (October 1, 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 (August 15, 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 (September 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 (November 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 (September 9, 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 (October 24, 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 (September 14, 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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Martí López, Emilio. "Makun (Don’t Cry): recreating vetoed realities through the animated documentary and animated journalism." Con A de animación, no. 11 (September 10, 2020): 16. http://dx.doi.org/10.4995/caa.2020.13978.

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MAKUN (NO LLORES) - Dibujos en un C.I.E. es un documental animado de 30 minutos que se adentra en una realidad muy opaca: los centros de internamiento de extranjeros (CIEs), cárceles para personas inocentes en los que normalmente no están permitidas las cámaras de vídeo. Habiendo conseguido un material documental único —los dibujos dejados en las paredes del CIE de Fuerteventura por miles de presos— sobre un tema que nos interesaba, decidimos dar vida al mismo por medio de la animación, confiando en conseguir algo más que la mera ilustración de los testimonios orales recogidos para la película. En el presente artículo, el director de la película, Emilio Martí, resume de manera personal la experiencia de abordar la preparación y rodaje de MAKUN, así como algunos aspectos de su distribución.

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Bevan, Greg, and Marc Bosward. "Designing a new documentary landscape: A renegotiation of documentary voice through animated collage." Scene 1, no. 3 (December 1, 2013): 443–56. http://dx.doi.org/10.1386/scene.1.3.443_1.

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Kim, Ji-Hoon. "Animating the Photographic Trace, Intersecting Phantoms with Phantasms: Contemporary Media Arts, Digital Moving Pictures, and the Documentary’s ‘Expanded Field’." Animation 6, no. 3 (September 21, 2011): 371–86. http://dx.doi.org/10.1177/1746847711417780.

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This article investigates the ways in which contemporary media artworks across various platforms provide a fresh look at the photographic inscription of reality by animating the still photograph with digitally produced movement. These artworks are based on what the author calls ‘digital moving pictures’, hybrid images in which photographic stillness and cinematic movement are interrelated in a single picture frame by the mediation of digital imaging systems. Examining the works of Jim Campbell, Ken Jacobs, David Claerbout, Julie Meltzer and David Thorne, the author argues that the pictures’ blurring of the boundaries between the live action and the animated images, and between the recorded and the manipulated, is meant to satisfy documentary epistephilia (a ‘desire to know’) and stimulate the viewer’s ‘pensive’ and ‘investigative’ engagements with the photographic trace as possible spectatorial modes of the documentary. The pictures then ask us to envision the documentary’s ‘expanded field’ (Rosalind Krauss), in which a series of binaries defining the modernist conception of the documentary are problematized, including prioritizing the photochemical qualities of analogue film and photography as directly guaranteeing evidential claims about their representations over the animated or graphically rendered image.

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Park, Seh Hyuck. "The Phenomenological Framework of the Reality of Animated Documentary." Cartoon and Animation Studies 54 (March 31, 2019): 193–211. http://dx.doi.org/10.7230/koscas.2019.54.193.

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Takahashi, Tess. "Experiments in Documentary Animation: Anxious Borders, Speculative Media." Animation 6, no. 3 (November 2011): 231–45. http://dx.doi.org/10.1177/1746847711417934.

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Animated documentaries like Julia Meltzer and David Thorne’s It’s Not My Memory of It: Three Recollected Documents (2003), Jackie Goss’s Stranger Comes To Town (2007), and Stephen Andrews’s The Quick and the Dead (2004) invite us to consider the larger implications of the intensified dislocation and movement of individuals and information over the past decade. Through these exemplary texts, this article examines a trend in experimental animated documentaries in which artists visibly and self-consciously investigate the current status of the ‘documentary guarantee’. How can current documentary establish truth claims in a context in which there is widespread cultural anxiety regarding visible movement in a world assumed to be uncertain, unstable, and precarious?

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Formenti, Cristina. "When imaginary cartoon worlds get the "documentary look"." Alphaville: Journal of Film and Screen Media, no. 8 (February 9, 2015): 41–59. http://dx.doi.org/10.33178/alpha.8.03.

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Due to their clearly imaginary narratives and to the presence of animation itself, animated mockumentaries make the viewer aware of their fictionality from the start. Therefore, these animated works constitute the clearest example of mockumentary being not a genre, but rather a narrative style capable of transcending the boundaries of genres, media, and individual poetics. Through the analysis of Ash Brannon and Chris Buck’s feature film, Surf’s Up (2007), and of The Simpsons’ episodes “Behind the Laughter” (Mark Kirkland, 2000) and “Springfield Up” (Chuck Sheetz, 2007), in this article I argue that the mockumentary style does not consist solely in the adoption of documentary aesthetics and structures, but also in the deployment of elements (such as booms left “accidentally” in view, glances in the direction of the camera and so on) that I will call fictionality clues. I will demonstrate that, whereas in hoaxes or credible live-action mockumentaries the presence of these hints might be dismissed as due to the need of alerting the viewer to the film’s effective ontological status, in the case of animated mockumentaries they would be redundant, if used just for this purpose. Thus their occurrence in these works suggests that they are central to the mockumentary as a form.

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Andrade Nunes, Thatiany, and Hyunseok Lee. "애니메이티드 다큐멘터리와 다큐멘터리 게임의 사실 재현에 대한 비교연구." CONTENTS PLUS 17, no. 5 (October 30, 2019): 23–42. http://dx.doi.org/10.14728/kcp.2019.17.05.023.

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Rose, Cameron, and Catherine Flynn. "Animating social work research findings: a case study of research dissemination to benefit marginalized young people." Visual Communication 17, no. 1 (September 26, 2017): 25–46. http://dx.doi.org/10.1177/1470357217727677.

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Findings in social work research are often disseminated in a manner that excludes the subjects of that research. In the SHINE for Kids – MyLifeNow research collaboration between a social work researcher, a communication design researcher and communication design students, research findings were animated in a variety of styles for distribution by the charitable organization. SHINE for Kids is a non-profit organization that assists and advocates for children with parents in prison. Transcripts of social work interviews with the children were modified into screenplays to be animated by communication design students. The animated documentary has advantages over the expository documentary mode, including protecting the identity of the subject and creating an affective video that constitutes a dual-process model of entertainment providing for a more socially connected pleasure.

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Ehrlich, Nea. "The Animated Document: Animation’s Dual Indexicality in Mixed Realities." Animation 15, no. 3 (November 2020): 260–75. http://dx.doi.org/10.1177/1746847720974971.

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Animation has become ubiquitous within digital visual culture and fundamental to knowledge production. As such, its status as potentially reliable imagery should be clarified. This article examines how animation’s indexicality (both as trace and deixis) changes in mixed realities where the physical and the virtual converge, and how this contributes to the research of animation as documentary and/or non-fiction imagery. In digital culture, animation is used widely to depict both physical and virtual events, and actions. As a result, animation is no longer an interpretive visual language. Instead, animation in virtual culture acts as real-time visualization of computer-mediated actions, their capture and documentation. Now that animation includes both captured and generated imagery, not only do its definitions change but its link to the realities depicted and the documentary value of animated representations requires rethinking. This article begins with definitions of animation and their relation to the perception of animation’s validity as documentary imagery; thereafter it examines indexicality and the strength of indexical visualizations, introducing a continuum of strong and weak indices to theorize the hybrid and complex forms of indexicality in animation, ranging from graphic user interfaces (GUI) to data visualization. The article concludes by examining four indexical connections in relation to physical and virtual reality, offering a theoretical framework with which to conceptualize animation’s indexing abilities in today’s mixed realities.

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Tawseef Majeed, Tawseef Majeed. "Animated Realities in India, Documenting Using Documentary Animation – An Analysis." International Journal of Communication and Media Studies 9, no. 1 (2019): 13–22. http://dx.doi.org/10.24247/ijcmsfeb20192.

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Formenti, Cristina. "The sincerest form of docudrama: re-framing the animated documentary." Studies in Documentary Film 8, no. 2 (May 2, 2014): 103–15. http://dx.doi.org/10.1080/17503280.2014.908491.

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Park, Man. "An Animated Documentary Study of Korean Youth Culture and Identity." Cartoon and Animation Studies 45 (December 31, 2016): 397–415. http://dx.doi.org/10.7230/koscas.2016.45.397.

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Kim, Lee Jin. "A Study on Visual Styles in Animated Documentary - focusing on." CONTENTS PLUS 14, no. 3 (June 29, 2016): 5–19. http://dx.doi.org/10.14728/kcp.2016.14.03.005.

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Sinha, Madhumeeta. "Witness to Violence." Indian Journal of Gender Studies 17, no. 3 (October 2010): 365–73. http://dx.doi.org/10.1177/097152151001700303.

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This article attempts to place feminist documentary filmmaking in the context of the women’s movement in India. More specifically, it seeks to examine some of the widely debated concerns and strategies that have animated feminist documentary filmmaking in India through an analysis of two important films: Deepa Dhanraj’s Something Like a War and Reena Mohan’s Skin Deep.

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Bayrak, Bengisu. "Editorial." CINEJ Cinema Journal 6, no. 1 (September 14, 2017): 1–3. http://dx.doi.org/10.5195/cinej.2017.173.

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This issue of CINEJ focuses on a variety of topics: Animated documentary, political cinema, female sexuality, religion, mythology and culture, orientalism, globalization and action movies, Halit Refiğ and Turkish cinema.

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Schlunke, K. "Animated Documentary and the Scene of Death: Experiencing Waltz with Bashir." South Atlantic Quarterly 110, no. 4 (October 1, 2011): 949–62. http://dx.doi.org/10.1215/00382876-1382339.

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Honess Roe, Annabelle. "Uncanny Indexes: Rotoshopped Interviews as Documentary." Animation 7, no. 1 (December 8, 2011): 25–37. http://dx.doi.org/10.1177/1746847711428851.

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This article considers the several animated interviews made by Bob Sabiston between 1997 and 2007, and the implications of considering these films as documentaries. The author argues that the films are liminal, discursive texts that negotiate tensions between reality and make-believe, observation and interpretation, and presence and absence. Textual analysis of the short films in question demonstrates an aesthetic presentation that confirms their documentary status at the same time as exploiting the expressionistic potential of Rotoshop. The nature of Rotoshop also emphasizes the absence of the physical body of the interviewee, replacing it with an excessively present style of animation. Other conventional markers of documentary authenticity and evidence, such as the visual index, are also absent in these films. These absences, coupled with the presence of an aesthetically liminal style of animation infer a pleasurably complex and challenging epistemological and phenomenological viewing experience.

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Pinar, Ekin. "Across the Traces: Lawrence Jordan’s Animated Documents." Animation 15, no. 1 (March 2020): 6–21. http://dx.doi.org/10.1177/1746847720909344.

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Since the early 1960s, Lawrence Jordan has appropriated a variety of Victorian engravings transforming them into experimental animations through the use of cut-out stop-motion techniques. In their outmoded style and technique, the dense tapestry of collaged ephemera begins to function as indices of their original Victorian context and its printing processes. But the stop-motion manipulation also renders these indexical documents surreal through the juxtaposition of apparently unrelated images. This amounts to a reflexive approach harking back to the early days of cinema when audiences perceived the new technology as a source of wonder, amazement and magic. Jordan’s animations, such as Patricia Gives Birth to a Dream by the Doorway (1961–1964) and The Centennial Exposition (1961–1964), employ a productive tension not just between animation and documentary but between indexicality and illusion as well. In these animations, the use of such tensions exposes history and culture as fragmentary constructions of memory, fantasy and experience, thereby open to alteration, re-reading and reconfiguration in the present moment.

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Kraemer. "Waltz with Bashir (2008): Trauma and Representation in the Animated Documentary." Journal of Film and Video 67, no. 3-4 (2015): 57. http://dx.doi.org/10.5406/jfilmvideo.67.3-4.0057.

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Guo, Chunning, and Baishen Yan. "The story of first-person: Recovering autobiographical memory through the animated documentary Ketchup." Animation Practice, Process & Production 6, no. 1 (December 1, 2017): 115–36. http://dx.doi.org/10.1386/ap3.6.1.115_1.

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Scott-Hawkins, Alys. "Hysteria: An autoethnographic reflection on making an animated documentary film from archive material." Animation Practice, Process & Production 7, no. 1 (December 1, 2018): 91–112. http://dx.doi.org/10.1386/ap3.7.1.91_1.

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Honess Roe, Annabelle. "Interjections and Connections: The Critical Potential of Animated Segments in Live Action Documentary." Animation 12, no. 3 (November 2017): 272–86. http://dx.doi.org/10.1177/1746847717729552.

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Park, Man Ki. "A Study on the Meaning of VR Animated Documentary and its Development Task." CONTENTS PLUS 18, no. 5 (October 30, 2020): 57–72. http://dx.doi.org/10.14728/kcp.2020.18.05.057.

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Landesman, Ohad, and Roy Bendor. "Animated Recollection and Spectatorial Experience in Waltz with Bashir." Animation 6, no. 3 (September 9, 2011): 353–70. http://dx.doi.org/10.1177/1746847711417775.

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This article explores the ways in which Waltz with Bashir (2008), Ari Folman’s animated war memoir, combines a commentary on memory with a moral stance on war. The authors argue that the film exemplifies the capacity of animated documentaries not only to show what is otherwise difficult or impossible to represent in non-animated documentaries, but to serve as a vehicle for fostering new relationships between the viewer and the documentary text. In this vein, the authors argue that Waltz with Bashir synthetically produces a rich, consistent, and thus trustworthy sense of reality for its viewers not despite but because of its unique aesthetic choices – its innovative animation techniques and mixing of reality with fantasy. Accordingly, the authors weave together analyses of the film’s content and form with accounts of their reception, discuss how the film evokes certain somatic responses with individuals, and consider the political significance these responses may engender.

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VIREN, DENIS G. "DOCUMENTARY ANIMATION OR ANIMATED DOCUMENTARY? Reflections on the history and the current situation on the example of Poland and other countries." ART AND SCIENCE OF TELEVISION 17, no. 1 (2021): 101–35. http://dx.doi.org/10.30628/1994-9529-2021-17.1-101-135.

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Documentary animation is a hybrid cinematic form, the history of which goes back over 100 years. Earlier such films were rather a rarity, while lately they appear on screens more and more often. Using numerous examples, the article discusses the goals of artists turning to this unusual and controversial practice. The main thematic blocks are highlighted, the boundaries between the fictional artistic world and the real basis of a film are determined. The author also attempts to distinguish between animated documentary and “full-fledged” documentary animation. After reviewing the genesis (films by W. McCay, J. and F. Hubley) and films that have become modern classics of the direction (Waltz with Bashir, Crulic: The Path to Beyond etc.), the most notable modern samples—primarily those filmed in Poland and in Russia, where animadoc is rapidly gaining momentum—were analyzed in detail. Directors use this form when talking about historical events (reconstruction), ambiguous personalities and unusual places, as well as about their own or others’ internal problems and experiences. Documentary animation is becoming a common means of (auto)psychotherapy and fits into the current trend of pronouncing taboo topics and working out hidden traumas. Animation allows to penetrate deeply into the world of characters without violating their personal boundaries. An important place is held by metafilms, reflecting on the language of the animadoc and cinema in general. Today, documentary with the use of animation is more common than “real” animadoc, although the line between the fictional artistic world and the actual basis of films is rather fluid. The phenomenon is still in the making. Nevertheless, such films must have a real component: interviews (usually off-screen), newsreels, photographs, genuine objects, etc. The factual basis is not a sufficient argument to classify the work as a documentary animation—the decisive factor here is the hybridization of the form.

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Leem, Ji-Hee, and Yoo-Mi Choi. "A Study on Producing Animated Documentary Dealing with Notions of Wildlife for the Children." Korean Journal of animation 14, no. 3 (September 30, 2018): 61–79. http://dx.doi.org/10.51467/asko.2018.09.14.3.61.

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Goss, Jacqueline. "Drawing Voices." Animation 6, no. 3 (November 2011): 247–58. http://dx.doi.org/10.1177/1746847711416563.

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This article presents a series of images, transcriptions, and musings on the making of Stranger Comes To Town (2007): an animated documentary that centers on the stories of six immigrants and visitors to the United States who describe their experiences crossing the border. The author chooses 10 images that are accompanied by transcriptions of each interviewee’s statements. She follows each pairing with a musing on either the process of making the animation – what she gleaned about the interviewee from the process of syncing a fabricated image to a ‘real’ voice, the different ways voice and text can play off each other in animation – or the (still surprisingly) subversive gesture of using subjective hand-drawn animations in documentary form.

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Moncayo Romero, Mario. "Analysis of the generation and consumption of animated audiovisual content in Ecuador." Espirales Revista Multidisciplinaria de investigación 3, no. 27 (April 3, 2019): 187. http://dx.doi.org/10.31876/er.v3i27.567.

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Introduction With the passage of time, audiovisual productions are increasingly demanded by the public and these are part of the cultural industry of any country. However, there is a noticeable change in the production of these since currently the topics of interest are very diverse. ObjectiveAnalyze the generation of animated content in Ecuador Materials and methodsThe following article presents a short analysis on audiovisual production from the documentary and systemic review. ResultsA critical interpellation with this framework of action allows to verify that production is favored to date DiscussionThe cultural industry replaces everything common for original and innovative facts Conclusionscountries undergo rapid cultural changes in the wake of globalization

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Miner, Joshua D. "Experiments in Hybrid Documentary and Indigenous Model Animation." Animation 16, no. 1-2 (July 2021): 6–20. http://dx.doi.org/10.1177/17468477211025664.

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Nonfiction has proved to be a long-term strategy of Native/First Nations filmmakers and, as this documentary tradition moves across contemporary mediums, one corner of its experimental aesthetics has focalized around animation. This article explores hybrid documentary approaches in Indigenous model animation across techniques and styles, namely digitally-supplemented stop-motion and game-based machinima. It begins by examining three principal characteristics of Indigenous animated documentaries: (1) they engage with the politics of documentary in the context of Indigenous and settler-colonial history; (2) they use animation to record stories and express ideas not authorized by the settler archive; and (3) they communicate via embedded Indigenous aesthetics and cultural protocols. A material analysis of Indigenous animation then accounts for how three Native artists centre re-mediation and re-embodiment in their work. These artists adapt new techniques in animation to documentary as a process of decolonization, precipitating a distinct hybrid aesthetics that travels across forms to question the veracity of settler documentary. Each reconstructs histories of settler colonialism – which has always chosen to record and authorize as ‘history’ some images and narratives and not others – with model animation practices and new media platforms. Indigenous animation expresses slippages between nonfiction and fiction by creating imagined documents, which strike at the legitimacy of settler institutions.

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Cabrita, Joel. "Texts, Authority, and Community in the South African ‘Ibandla lamaNazaretha’ (Church of the Nazaretha), 1910-1976." Journal of Religion in Africa 40, no. 1 (2010): 60–95. http://dx.doi.org/10.1163/157006610x494115.

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AbstractThis six-decade history of textual production in the Nazaretha church seeks to illuminate the changing practices of governance and community in the church during this period. The church’s documentary history provides insight into its leaders’ efforts to use texts to govern, centralize and discipline their geographically far-flung, often unruly congregations. In addition to focusing on the documentary regime instituted by the church’s leaders, this article also explores the reading and writing practices that animated ordinary believers. For laity, as well as for leaders, texts and a general range of literate practices were a means of knitting themselves together in opposition to the incursion of the state, and in distinction to contemporary rival Christians. Finally, this article also seeks to position the texts of Nazaretha leaders and laity as significant material objects in their own right.

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Van de Peer, Stefanie. "Fragments of War and Animation: Dahna Abourahme’s Kingdom of Women and Soudade Kaadan’s Damascus Roofs: Tales of Paradise." Middle East Journal of Culture and Communication 6, no. 2 (2013): 151–77. http://dx.doi.org/10.1163/18739865-00602003.

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In this article, the author addresses the meaning of animated fragments in documentary films. She analyzes a Syrian and a Lebanese film, and illustrates the role and function of the hybrid form as a means through which women are now able to express themselves. Dahna Abourahme’s film Ein El Hilweh: Kingdom of Women (Lebanon, 2010) and Soudade Kaadan’s film Damascus Roofs: Tales of Paradise (Syria, 2010) are used as recent examples of documentaries addressing taboo issues by way of animated fragments. The author places these films in the wider context of the contemporary developments in animation in the Middle East, paying special attention to women’s contributions in the field. Both documentaries use animation not only for aesthetic appeal but also to enhance understanding and deepen engagement with topics and events that are necessarily situated beyond the knowledge and experience of a transnational audience. The author contends that animation creates a different film experience, and the audience must deal with the seduction of the animation.

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Waldburger, Adia. "Sport on the Screen: A Look at Sport Films Featured at Sundance 2011." International Journal of Sport Communication 4, no. 2 (June 2011): 253–58. http://dx.doi.org/10.1123/ijsc.4.2.253.

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Audiences had the opportunity to applaud for sport films at the 2011 Sundance Film Festival in Park City, UT. Two sport-themed documentary films won audience awards. The U.S. winner, Buck, follows the life of horse trainer Buck Brannaman, and Senna, a look at the life of Formula One hero Ayrton Senna, won in the international category. Other sport films screened this year included Win Win, in which Paul Giamatti stars as a volunteer high school wrestling coach; Benevides Born, about a teen female wrestler trying win a scholarship; and two short movie entries, Bike Race, an animated film about a race and a love triangle, and Skateistan: To Live and Skate Kabul, a documentary about skaters in war-torn Afghanistan. This review provides an examination of the sport films at this year’s festival and discusses the impact that this form of sport communication has on the entertainment industry.

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Plomp, Anniek, and Charles Forceville. "Evaluating animentary’s potential as a rhetorical genre." Visual Communication 20, no. 3 (July 13, 2021): 353–73. http://dx.doi.org/10.1177/14703572211010198.

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Multimodality scholarship has hitherto mainly focused on the combination of static visuals and written language (see Bateman et al., Multimodality: Foundations, Research and Analysis -- A Problem-Oriented Introduction, 2017; Tseronis and Forceville, Multimodal Argumentation and Rhetoric in Media Genres, 2017; and Forceville, ‘Multimodality’, in press, for discussion and bibliographies). However, drawing on visuals, written language, spoken language, music and sound, film is a multimodal medium par excellence. In this article, the authors specifically focus on documentary film. Documentary can be considered to be the cinematic equivalent of audiovisual rhetorical discourse, aiming to persuade its envisaged audience of something. Obviously, it is crucial for the credibility of documentaries that they are seen as indexically rooted in reality. But, recently, documentary film has witnessed the flourishing of a subgenre that may seem to challenge this indexicality: the ‘animentary’ – a documentary that consists to a considerable extent of animated images. While the completely constructed nature of animation means that animentaries’ indexical relation between audiovisual representation and represented world is loosened, or even absent, animentaries also – and importantly – enable perspectives on reality that live-action documentary cannot. This article analyses how the visual, verbal, sonic and musical modes function rhetorically in four feature-length animentaries that share the theme of ‘war’: Waltz with Bashir (dir. Ari Folman, 2008), 25 April (dir. Leanne Pooley, 2015), Chris the Swiss (dir. Anja Kofmel, 2018) and Another Day of Life (dir. Raúl de la Fuente and Damian Nenow, 2019). The authors conclude that the written and spoken verbal modes play a crucial role in safeguarding animentaries’ referential relation to reality.

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Stsiazhko, Nataliia G. "The Image of the Holocaust in the Television Documentary Drama Trilogy “The Chronicle of the Minsk Ghetto”." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 56–98. http://dx.doi.org/10.21638/spbu15.2021.104.

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The prevailing view in modern film studies is that television documentary drama (docudrama) is either a hybrid, a synthesis, or a documentary film genre. The author of the article hypothesizes that docudrama has long exceeded the boundaries of documentary films and asserted its own place in the system of screen arts on par with feature films, documentaries and animated films. The author claims that docudrama is a unique phenomenon generated by television and it combines all the modern innovations in cinema. Docudrama allows for the text information to be reformatted into an audio-visual experience in an emotional, spectacular and accurate way, therefore possessing the inherent features of other screen arts. Like other forms of screen arts, it forms an image capable of evoking certain emotions and makes the viewer think and draw their own conclusions. The combination of artefacts and quotes adds volume and artistic value to the image. The article explores the genesis and development of television docudrama and gives it a definition based on key characteristics. It shows how films of various genres can be created within docudrama, proving that docudrama is not a subgenre within the genre of documentary film but a new independent branch of screen arts. The author highlights that the reason for the popularity of docudrama lies in the fact that the historical and informative material, which can be interesting and useful to the viewer, is presented in a spectacular and lightweight form. This idea is supported through the analysis of the documentary drama trilogy The Chronicle of the Minsk Ghetto, in which an image of the Holocaust, the unspeakable tragedy of the Jews during the Second World War, is shown.

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Rampling, Jeremy. "Waltz with Bashir (2008; director/writer: Ari Folman)." British Journal of Psychiatry 207, no. 3 (September 2015): 220. http://dx.doi.org/10.1192/bjp.bp.115.163022.

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Ari Folman's Waltz with Bashir is an animated documentary about the 1982 Lebanon War through the eyes of Israeli Defence Forces (IDF) veterans. The narrative, which follows Folman on a quest to uncover his lost memories of the War through interviews with his peers, plays out like psychotherapeutic intervention; Folman questions his own responsibilities, his hereditary scars and, ultimately, his guilt as he ‘unwillingly [takes on] the role of the Nazi’. While it would be disingenuous to call the film apolitical, it is not as political as one might expect from such evocative history. Rather, it is a treatise on memory and psychological survival through predominantly neurotic defence mechanisms.

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Ruddell, Caroline. "Annabelle Honess Roe, Animated Documentary (Basingstoke: Palgrave Macmillan, 2013), pp. vi + 208, 15 illus., ISBN 9781137017451 (hb), £53." Journal of British Cinema and Television 12, no. 4 (October 2015): 590–92. http://dx.doi.org/10.3366/jbctv.2015.0289.

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Davis, Charles H., and Florin Vladica. "Consumer Value and Modes of Media Reception: Audience Response to Ryan, a Computer-animated Psycho-realist Documentary and its Own Documentation in Alter Egos." Palabra Clave - Revista de Comunicación 13, no. 1 (June 1, 2010): 13–30. http://dx.doi.org/10.5294/pacla.2010.13.1.1.

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Peaslee, Robert Moses. "“It's Fine as Long as You Draw, But Don't Film”: Waltz with Bashir and the Postmodern Function of Animated Documentary." Visual Communication Quarterly 18, no. 4 (October 2011): 223–35. http://dx.doi.org/10.1080/15551393.2011.627279.

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Park, Man Ki. "A Study on the Planning Method of Game System for Interactive Animated Documentary Game Production : Focusing on Converged Content 〈That Dragon, Cancer〉." Korean Society of Science & Art 38, no. 5 (December 31, 2020): 197–212. http://dx.doi.org/10.17548/ksaf.2020.12.30.197.

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Park, Man Ki. "A Study on the Planning Method of Game System for Interactive Animated Documentary Game Production : Focusing on Converged Content 〈That Dragon, Cancer〉." Korean Society of Science & Art 38, no. 5 (December 31, 2020): 197–212. http://dx.doi.org/10.17548/ksaf.2020.12.30.197.

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Journal articles on the topic 'Animated documentary'

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