Well’s expansion of animated documentaries’ coherence through performative modes of actuality, bring to attention further considerations in the categorisation of animated documentary and what this entails in terms of subjectivity.
An interesting point Wells initially brings to attention is the idea that Norman McClarends Neighbours (1950) constitutes an animated documentary. Despite being created via live-action, the method of ‘pixilation’ in live-action contexts classifies this in technicalities as a form of animation that manipulates real-world aspects (1997, 41). Wells also argues that this film perfectly fits into Grierson’s idea of the “creative treatment of actuality” as while being represented via fictitious means and a pre-determined plot’ it represents something that is wholly real in the nature of human behaviour and war (1997, 41).
I think this provides an insightful opening into the loose categorisation and definition of what an animated documentary can and has the potential to be. This being said, here are Wells’s 4 primary modes of animated documentaries.
The Imitative Mode
In its essence, the imitative mode of the animated documentary is the simplest form to understand, that it attempts to replicate live-action documentary. A point Wells makes abut the use of animation in this context is that it is effective in “clarification through simplification” (1997, p.41). I also think this can be applied to aesthetic considerations concerning the relationship animation has with educational videos taught to younger children. Wells links this further with the ideals of John Halas who described animation as ’penetrative’ in its methods of depicting the unseen and impossible to visualise (1997, 41). A Key film Wells mentions that relates to this mode is The Sinking of the Lustiania (McCay, 1918), as it directly attempts to conceptualise a real life event in a realistic style.
The Subjective Mode
Wells states how the imitative mode and the subjective mode are hybridised within parody and can be defined as ’mock documentary’ (1997, 42). Using key examples of animations that fit into this category, he includes the parodies of MGM by Tex Avery such as The Isle of Pingo Pongo (1938), Detouring America (1939) and Cross Country Detours (1940). I think whats interesting to consider with The Isle of Pingo Pong (Avery, 1938) is that it uses the authoritative ’Voice of God’ audio that is reminiscent in early animated documentary history, and visuals that make fun of the reality they portray at every turn, yet use these in combination that bring attention the realities of human prejudices and stereotyping of the time period.
Wells expands on the subjective representation that is availble within the tool kit of animation:
“Animators enjoy exploiting the fine line between the plausibly ’real’ and the overtly ’surreal’ because it exposes the false-hood of objectivity, and further, and much more importantlty, challenges the homogenous ideological certainties and illusionary cultural stabilities” – (1997, 43)
I think this provides and interesting perspective, and further discusses my point about The Isle of Pingo Pongo ( Avery, 1938) as by pushing itself as a ’Mock-umentary’ it not only inherently parodies the non-fictional form itself with its forced performance of fact and its exaggeration, but applies this to the concept of all documentaries and the potential absurdity of their ’implied objectivism’. In terms of more subjective experiences he discuses the work of Marjut Rimminen’s work ’Some Protection’ (1988) which spotlights a young offenders experience with prison and allows room for viewer empathy and engagement with a ‘morally incorrect’ member of society.
The objective goal of the documentary form provides insight into experience, but as Wells states the irony surrounding the subjective documentary form is that it ”moves beyond the basis as the expression of an individual voice and find correspondence in viewers to the extent that is articulates social criticism”(1997, P.43). I think in application of Some Protection, it states a valid point which is often misunderstood when faced in a live action presence due to predetermined bias and that is the ability to have full control of the aesthetic capabilities of expression. Wells expands on the Idea that this voice allows room for the ’Feminine Aesthetic” as it conceptualises the visual experience of women within the ”patriarchal agenda seemingly at the heart of live-action filmmaking” (1997, p.43). This offers thought on how the capabilities of the animated medium can bring forward misrepresented and repressed societal realities.
The Fantastic Mode
“This effectively is a model of documentary which is re-locating the ’realist’ mode within a seemingly non-realist context” (Wells, 1997, P.43)
Wells indicated a prime example of the fantastic mode of animated documentary is the work of Jan Svankmajer, who displays topics of real social context in a wild, disturbing and Unworldly manners while utilising worldly objects. I think reflectively looking at this lens of documentary making it pushes the boarders further on what can be classified as document, and is similar in the way McClarens neighbours could be considered
The Post-Modern Mode
The post-modern mode, in relation to Paul well’s description, rejects the ’notion of the objective authority and asserts that ’the social and therefore ’the real’, is now fragmentary and incoherent” (1997, P.44)
A clear example Wells accentuates is Paul Vester’s” Abductees” (1994) as it documents people proposed experiences of alien abduction without condescension but also without factual basis. It amplifies the voices of social experience artistically through the lens of several different arts which help distinguish each story with the rough drawings created by the interviewees themselves and adds personality to subjective experience. Wells argues how animation is “the most important art form of the 21st century” and pushes itself within the documentary genre only to further secure its spot as such.
References:
.Wells, P. (1997) ‘The Beautiful Village and the True Village: A Consideration of Animation and the Documentary Aesthetic’, in Wells, P. (ed) Art & Animation. London, United Kingdom: Academy Group. pp.40-45.