Absence, Excess and Epistemological Expansion: Towards a Framework for the Study of Animated Documentary

Roe, Annabelle Honess

doi:10.1177/1746847711417954

Cited by 27 publications

(10 citation statements)

References 5 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Perhaps then it is the potential for modern trauma film, via an optical unconscious, to explode this world that seems ‘to close so relentlessly around us’ and to convey the world of the traumatized subject via the transmission not of traumatic experience itself, but the collective dream of the traumatic figure that may indeed prove to have real political emancipatory potential as counterweight to the dominance of national theatre (Benjamin, 2006a[1935–1938]:117). Any successful aesthetic intervention into the realm of the political must ‘propose a new way of relating to the world and to others in such a way that it allows new voices to come forward and to have their views articulated’ and in so doing these articulated subjects assert their political nature (Honess Roe, 2011: 215).…”

Section: Pseudo-documentary Optical Unconscious and National Theatrementioning

confidence: 99%

“… 1 For a more in-depth analysis on this topic, see Nichols (2001), Patrick (2004: 26–47), Honess Roe (2011: 215–230) and Wells (1997: 40–45). …”

mentioning

confidence: 99%

“… 2 Though sympathetic to the seminal work of Bill Nichols in this area, Honess Roe (2011: 223) compellingly states that ‘to shoehorn the (animated) documentary into one of Nichol’s modes threatens to limit our understanding of the form.’ The conversation regarding the classification of documentaries is robust; however, Roe’s point seems to me to be extendable to The Act of Killing , at least in so far as I wish to discuss both films in terms of the potential critique of social and political history. …”

mentioning

confidence: 99%

See 2 more Smart Citations

Shifting histories: Film and nationalist mythmaking through trauma

Rupka¹

2021

Media, War & Conflict

View full text Add to dashboard Cite

National histories do not simply exist in the past but rather are curated from the present. This curation reveals dominant contemporary dynamics of power and the mythmaking quality of national narratives of the past. Narratives of heroism and sacrifice, which form the genesis of the nation, become challenged by alternative histories they try to obfuscate, which is particularly true when national histories contain moments of great suffering and trauma. The author argues that certain counter-narratives resist these national histories and bring to light not simply the inconsistencies of a nation’s history but, more importantly, the continued labour and oppression involved in the continuation of these stories in the present. To illustrate this argument, he draws upon two films, Waltz with Bashir and The Act of Killing, and shows how these ‘psuedodocumentaries’ exemplify the persistence of alternative historical narratives derived from trauma and demonstrate the discontinuity and precarity of dominant national narratives.

show abstract

Section: Pseudo-documentary Optical Unconscious and National Theatrementioning

confidence: 99%

“… 1 For a more in-depth analysis on this topic, see Nichols (2001), Patrick (2004: 26–47), Honess Roe (2011: 215–230) and Wells (1997: 40–45). …”

mentioning

confidence: 99%

mentioning

confidence: 99%

See 1 more Smart Citation

Shifting histories: Film and nationalist mythmaking through trauma

Rupka¹

2021

Media, War & Conflict

View full text Add to dashboard Cite

show abstract

“…1. Animation's relation to the reality portrayed has been defined in varied ways (see Honess Roe, 2011;Patrick, 2004;Wells, 1997). 2.…”

Section: Fundingmentioning

confidence: 99%

The Animated Document: Animation’s Dual Indexicality in Mixed Realities

Ehrlich

2020

Animation

View full text Add to dashboard Cite

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.

show abstract

“…Animators have many such tools at their disposal, allowing them to communicate their message quickly and to great emotional impact. As pointed out by Annabelle Honess Roe (Roe, 2011). The medium is increasingly being used to express lived experiences, ideas, and feelings.…”

Section: Statistics Show the Gender Imbalance Is Still A Deeply Roote...mentioning

confidence: 99%

Gender Discrimination – A Problem Behind Chinese Ghost Marriage

Wang¹

View full text Add to dashboard Cite

<p>Animation has become a popular medium for exploring complex and culturally sensitive subjects. One such topic that has been the subject of much controversy both historically and in recent years is Chinese ghost marriage. This ancient traditional practice, which involves marrying deceased individuals, is steeped in history and customs, but has been criticized for perpetuating patriarchal norms and gender discrimination. This paper examines whether animation can be a powerful vehicle for exploring and critiquing the Chinese phenomenon of ghost marriage. It explores the benefits of using animation to raise awareness about the issue, and how the medium can be used to tell the stories of women affected by ghost marriage in a powerful and emotive way. It also considers the importance of approaching the topic with sensitivity and empathy, and the best practices for creating animation that can educate the public and inspire social change. Ultimately, this paper aims to demonstrate how the conventions and idiosyncrasies of animation can be effectively utilised to examine and challenge such a complex issue.</p>

show abstract

Absence, Excess and Epistemological Expansion: Towards a Framework for the Study of Animated Documentary

Cited by 27 publications

References 5 publications

Shifting histories: Film and nationalist mythmaking through trauma

Shifting histories: Film and nationalist mythmaking through trauma

The Animated Document: Animation’s Dual Indexicality in Mixed Realities

Gender Discrimination – A Problem Behind Chinese Ghost Marriage

Contact Info

Product

Resources

About