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.
This article gives an overview of the history of animated documentary, both in terms of the form itself and how it has been studied. It then goes on to suggest a new way of thinking about animated documentary, in terms of the way the animation functions in the texts by way of asking what the animation does that the live-action alternative could not.
2Three functions are suggested: mimetic substitution; non-mimetic substitution; and evocation. The suggestion is 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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