Animated Documentary
Animated Documentary by Annabelle Honess Roe, published by Palgrave Macmillan UK on June 11, 2013, is a comprehensive exploration of how animation serves as a representational strategy in nonfiction film and television. This 194-page book delves into the unique ways animation enhances the depth and range of documentary storytelling, offering insights into the potential of animated forms to convey complex narratives that live action may struggle to represent.
Readers will find a thorough examination of the techniques employed in animated documentaries, including mimetic and non-mimetic substitutions, as well as evocation. The book addresses the intersection of animation and documentary, providing a scholarly account that bridges both fields. With its focus on the capabilities of animated documentary to depict temporally, geographically, and psychologically distant aspects of life, this edition serves as a valuable resource for those interested in media studies, film, and the performing arts.
Official synopsis Publisher
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.’
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