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The Classical Animated Documentary and Its Contemporary Evolution is the first book to provide an historical insight into the animated documentary. Drawing on archival research and textual analysis, it shows how this form, usually believed to be strictly contemporaneous, instead took shape in the 1940s. Cristina Formenti integrates a theoretical and a historical approach in order to shed new light on the animated documentary as a form as well as on the work of renowned studios such as The Walt Disney Studios, Halas & Batchelor, National Film Board of Canada and never before addressed ones, such as Corona Cinematografica. She also highlights the differences and the similarities existing among the animated documentaries created between the 1940s and the mid-1980s and those produced today so as to demonstrate how the latter do not represent a complete otherness in respect to the former, but rather an evolution.
The Classical Animated Documentary and Its Contemporary Evolution is the first book to provide an historical insight into the animated documentary. Drawing on archival research and textual analysis, it shows how this form, usually believed to be strictly contemporaneous, instead took shape in the 1940s. Cristina Formenti integrates a theoretical and a historical approach in order to shed new light on the animated documentary as a form as well as on the work of renowned studios such as The Walt Disney Studios, Halas & Batchelor, National Film Board of Canada and never before addressed ones, such as Corona Cinematografica. She also highlights the differences and the similarities existing among the animated documentaries created between the 1940s and the mid-1980s and those produced today so as to demonstrate how the latter do not represent a complete otherness in respect to the former, but rather an evolution.
Author : Jennifer Nagtegaal Publisher : University of Toronto Press Page : 212 pages File Size : 44,79 MB Release : 2023-10-12 Category : Performing Arts ISBN : 1487545347
Politically Animated studies the convergence of animation and actuality within films, television series, and digital shorts from across the Spanish-speaking world. It interrogates the many ways in which animation as a stylistic tool and storytelling device participates in political projects underpinning an array of non-fiction works. The case studies in the book cover a diverse geographical scope, including Spain, Argentina, Colombia, and Mexico. They critically analyse different works such as feature-length animated documentary films, a work of animated journalism, a short animated essay, and micro-short episodes from a televised animated documentary series. Jennifer Nagtegaal employs the term "politically animated" in reference to the ideological implications of choosing specific techniques and styles of animation within certain socio-historical and cultural contexts. Nagtegaal illuminates the creative union of animated documentary and the comics medium currently being exploited by Spanish and Latin American cartoonists and filmmakers alike. By paying particular attention to cultural production beyond the big screen, Politically Animated continues to stretch the bounds of animated documentary scholarship.
Animating Truth examines the rise of animated documentary in the 21st century, and addresses how non-photorealistic animation is increasingly used to depict and shape reality. Confronting shifts in the status and aesthetics of the real, Nea Ehrlich analyses how contemporary technoculture has transformed the relationship of animation to documentary by mapping out two parallel trends: the increased use of animation within documentary or non-fiction contexts, and the increasingly pervasive use of non-photorealistic animation within digital media. As the virtual becomes another aspect of our contemporary mixed reality (physical and virtual), the book aims to understand how this visual paradigm shift influences viewers, both ethically and politically, and questions the wider ramifications of this transformation in non-fiction aesthetics. Nea Ehrlich is a lecturer in the Department of the Arts at Ben-Gurion University of the Negev in Israel.
This book is open access and available on www.bloomsburycollections.com. It is funded by Knowledge Unlatched. Scanning historical and current trends in animation through different perspectives including art history, film, media and cultural studies is a prominent facet of today's theoretical and historical approaches in this rapidly evolving field. Global Animation Theory offers detailed and diverse insights into the methodologies of contemporary animation studies, as well as the topics relevant for today's study of animation. The contact between practical and theoretical approaches to animation at Animafest Scanner, is closely connected to host of this event, the World Festival of Animated Film Animafest Zagreb. It has given way to academic writing that is very open to practical aspects of animation, with several contributors being established not only as animation scholars, but also as artists. This anthology presents, alongside an introduction by the editors and a preface by well known animation scholar Giannalberto Bendazzi, 15 selected essays from the first three Animafest Scanner editions. They explore various significant aspects of animation studies, some of them still unknown to the English speaking communities.
Animated Documentary, the first book to be published on this fascinating topic, considers how animation is used as a representational strategy in nonfiction film and television and explores the ways animation expands the range and depth of what documentary can show us about the world. On behalf of the Society for Animation Studies(SAS), the Chair of the Jury announced the book as the winner of the delayed 2015 SAS McLaren-Lambart Award with the following words: 'Animated Documentary is a vital addition to both animation scholarship and film studies scholarship more broadly, expertly achieving the tricky challenge of synthesising these two scholarly traditions to provide a compelling and brilliantly coherent account of the animated documentary form. At the heart of Roe’s book is the conviction that animated documentary “has the capacity to represent temporally, geographically, and psychologically distal aspects of life beyond the reach of live action” (p. 22). As a representational strategy, Roe details how animated documentary can be seen to adopt techniques of “mimetic substitution, non-mimetic substitution and evocation” in response to the limitations of live action material (p. 26). Animated Documentary will without doubt become an essential resource for many years to come for anyone interested in the intersection of animation and documentary.'
Documentary film can encompass anything from Robert Flaherty's pioneering ethnography Nanook of the North to Michael Moore's anti-Iraq War polemic Fahrenheit 9/11, from Dziga Vertov's artful Soviet propaganda piece Man with a Movie Camera to Luc Jacquet's heart-tugging wildlife epic March of the Penguins. In this concise, crisply written guide, Patricia Aufderheide takes readers along the diverse paths of documentary history and charts the lively, often fierce debates among filmmakers and scholars about the best ways to represent reality and to tell the truths worth telling. Beginning with an overview of the central issues of documentary filmmaking--its definitions and purposes, its forms and founders--Aufderheide focuses on several of its key subgenres, including public affairs films, government propaganda (particularly the works produced during World War II), historical documentaries, and nature films. Her thematic approach allows readers to enter the subject matter through the kinds of films that first attracted them to documentaries, and it permits her to make connections between eras, as well as revealing the ongoing nature of documentary's core controversies involving objectivity, advocacy, and bias. Interwoven throughout are discussions of the ethical and practical considerations that arise with every aspect of documentary production. A particularly useful feature of the book is an appended list of "100 great documentaries" that anyone with a serious interest in the genre should see. Drawing on the author's four decades of experience as a film scholar and critic, this book is the perfect introduction not just for teachers and students but also for all thoughtful filmgoers and for those who aspire to make documentaries themselves. About the Series: Combining authority with wit, accessibility, and style, Very Short Introductions offer an introduction to some of life's most interesting topics. Written by experts for the newcomer, they demonstrate the finest contemporary thinking about the central problems and issues in hundreds of key topics, from philosophy to Freud, quantum theory to Islam.
This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com Coraline (Henry Selick, 2009) is stop-motion studio LAIKA's feature-length debut based on the popular children's novel by British author Neil Gaiman. Heralding a revival in global interest in stop-motion animation, the film is both an international cultural phenomenon and a breakthrough moment in the technological evolution of the craft. This collection brings together an international group of practitioners and scholars to examine Coraline's place in animation history and culture, dissect its politics, and unpack its role in the technological and aesthetic development of its medium. More broadly, it celebrates stop motion as a unique and enduring artform while embracing its capacity to evolve in response to cultural, political, and technological changes, as well as shifting critical and audience demands. Divided into three sections, this volume's chapters situate Coraline within an interconnected network of historical, industrial, discursive, theoretical, and cultural contexts. They place the film in conversation with the medium's aesthetic and technological history, broader global intellectual and political traditions, and questions of animation reception and spectatorship. In doing so, they invite recognition – and appreciation – of the fact that Coraline occupies many liminal spaces at once. It straddles the boundary between children's entertainment and traditional 'adult' genres, such as horror and thriller. It complicates a seemingly straight(forward) depiction of normative family life with gestures of queer resistance. Finally, it marks a pivotal point in stop-motion animation's digital turn. Following the film's recent tenth anniversary, the time is right to revisit its production history, evaluate its cultural and industry impact, and celebrate its legacy as contemporary stop-motion cinema's gifted child. As the first book-length academic study of this contemporary animation classic, this volume serves as an authoritative introduction and a primary reference on the film for scholars, students, practitioners, and animation fans.
A New History of Documentary Film, Second Edition offers a much-needed resource, considering the very rapid changes taking place within documentary media. Building upon the best-selling 2005 edition, Betsy McLane keeps the same chronological examination, factual reliability, ease of use and accessible prose style as before, while also weaving three new threads - Experimental Documentary, Visual Anthropology and Environmental/Nature Films - into the discussion. She provides emphasis on archival and preservation history, present practices, and future needs for documentaries. Along with preservation information, specific problems of copyright and fair use, as they relate to documentary, are considered. Finally, A History of Documentary Film retains and updates the recommended readings and important films and the end of each chapter from the first edition, including the bibliography and appendices. Impossible to talk learnedly about documentary film without an audio-visual component, a companion website will increase its depth of information and overall usefulness to students, teachers and film enthusiasts.