Jacqueline Ristola – Recreating Reality: Waltz With Bashir, Persepolis, and the Documentary Genre

Is a digital image consisting of dots and lines and digital information, is it more real? Is a drawn image, talking with real sound, less true? Who can say? Who is to judge? (Ari Folman, 2008) We are practically drowning in the present; we are practically drowning in the past. (Nicholas Rombes 2009, p. 96) […]

Victoria Grace Walden – Animation: Textural Difference and the Materiality of Holocaust Memory

The notion of “Holocaust animation” may seem paradoxical; how can a medium which, in the popular eye, is usually associated with comedy, play and fantasy be used to remember one of the 20th century’s most traumatic events? By examining the textural difference of animation to our lived world in texts such as Silence (Yadin and […]

Nea Ehrlich – Animated Documentaries as Masking

When Exposure and Disguise Converge Since the 1990s there has been a rise in the use of documentary materials in film and visual arts, most commonly referred to as “The Documentary Turn” (Nash, 2004). The complexity of what defines realities and the questioning of epistemological limits is part of the contemporary fascination with the documentary. […]

Samantha Moore – Animating unique brain states

This paper will look at the term which Chris Landreth has coined for the way in which animation can depict internal realities; psychorealism. The term will be re-interpreted by the author and applied to her recent work. The paper will look at the challenges of working with subjective brain states and the ways in which the information collected can be verified. The paper will show how by dislocating elements of realism and re-placing them into the realm of animation psychorealism allows the audience to engage with the material differently.

María Lorenzo Hernández – Through the Looking Glass

The Self-Portrait of the Artist and the Re-Start of Animation   Introduction Originally, the self-portrait was a pictorial subgenre of portrayal, in which the artists became the model for their own paintings. However, it is also present in mediums such as cinema, when directors appear in their films, from ephemeral manifestations, like the Hitchcockian cameo […]