Creative actuality: modes of animated documentary

Hosea, Birgitta (2016) Creative actuality: modes of animated documentary. In: Animation in the age of crossover: the first China animation studies conference proceedings. Sichuan Press, Chengdu University, China, pp. 9-16. ISBN 9787541074318

Creators:
Hosea, Birgitta
Description/Abstract:

The use of animation to create documentary film raises epistemological issues about the status of non-photographic and non-indexical forms of moving image to represent ‘reality’, as has been raised by Roe (2013).

Based on research in the RCA’s archive of over 30 years of experimental animation practice, this paper utilises Bill Nichol’s concept of ‘modes of documentary’ to analyse a range of strategies for the construction of truth claims through examples of animations that draw upon actuality and lived experience to form their subject matter.

Although Strøm (2003), Patrick (2004) and Ward (2005) argue for animation as belonging to one particular mode and Roe (2013) does not find Nichols's modes appropriate for animation, this paper uses Nichols's categories in order to argue that there are a number of strategies in which to make a claim for truthfulness in animation. Thus, animated documentaries are connected to documentary studies more generally, rather than being sidelined as a discreet practice.

Item Type:
Book Section
Date:
19 November 2016
Funders:
Royal College of Art
Schools:
School of Film, Media & Performing Arts
Research Centres:
Animation Research Centre
Depositing User:
Dr Birgitta Hosea
Date Deposited:
26 Mar 2018 13:04
Last Modified:
28 May 2019 14:50
URI:
https://research.uca.ac.uk/id/eprint/4793

Actions (login required)

Edit View Edit View
University Staff: Request a correction | UCA Research Online Editors: Update this record