The Fourth Dimension in Cinema

Leyda, Jay

doi:10.5040/9781838711023.ch-011

Cited by 2 publications

(2 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…However, the camera is a blunt tool compared to the imaginative potential of animation. The disconnection between the physical world and the artificiality of animation, what Eisenstein calls the ’plasmaticness’ of animation ( Leyda and Eisenstein 1988 : 21), a freedom from physical reality, allows for a vast spectrum of aesthetic possibilities when attempting to represent invisible mental phenomena. An Alien in the Playground features a complex web of pseudo-mathematical formula as a means to evoke Muggleton’s social strategies.…”

Section: Representational Risks In Animated Documentary Practicementioning

confidence: 99%

“…Where appropriate, animation’s unique capacity for plasmaticness ( Leyda and Eisenstein 1988 : 21) and visual excess ( Honess Roe 2013 : 44) are employed in a documentary context. Here, animation disrupts and subverts documentary conventions; similarly, drag performances both exaggerate and embellish gender signifiers.…”

Section: The Gaze In Animated Documentarymentioning

confidence: 99%

See 1 more Smart Citation

Representational risks associated with interview-based animated documentaries

Widdowson

2022

Animation Practice, Process &Amp; Production

View full text Add to dashboard Cite

This article provides an analysis of representational issues associated with interview-based animated documentary productions directed by non-autistic filmmakers, attempting to represent one or more autistic participants. The article draws insights from three case studies: A Is for Autism (), An Alien in the Playground () and the author’s own practice-based research film, Drawing on Autism (). Drawing insights from psychoanalysis, film theory and ethnography, the article will examine animated documentary practice in terms of the risks of Othering participants, look for evidence of the filmmaker’s unconscious bias and consider how the cinematic gaze can be used to decode ideological systems that informed their construction. From this analysis, the author reaches the conclusion that the properties of documentaries, that rely on animation rather than live-action cinematography, present a specific set of ethical responsibilities that skew towards issues of representation.

show abstract

Section: Representational Risks In Animated Documentary Practicementioning

confidence: 99%

Section: The Gaze In Animated Documentarymentioning

confidence: 99%