Thesis Research – Esme’s Blog

Documentaries with Animated Elements

Looking at the animated documentary, I wanted to look at different contemporary examples that do not inherently perform in a ‘typical way’ and heighten subjectivity. Particularly the ten mark, as it really accentuates what I would make as the ‘performative’ documentary mode in the way that there is no direct action on screen and just long takes of empty rooms. The implications of the real-life document due to the non-fictional context of the person’s home I feel works perfectly as it evokes a feeling of emotion and mood of contemplation and emptiness that occurs after a murder.

Research: Re-enactment and Documentary Film ‘Nanook of the North’

The documentary has inherently always had a relationship with performativity from its birth. Famous Pioneering documentary Film Nanook of the North (Flaherty, 1922) highlights the most fundamental example of what could be described as documentary fiction. As described by Rothman, “many actions on view in the film were performed for the camera”, not merely observational as was implied (1997, pp.1). This is indicated further by the intentionality of Flaherty highlighting “a traditional – and dangerous- method of hunting walrus with harpoons”, which was abandoned by Nanook’s people once having access to guns (Rothman, 1997, pp.2). This re-enactment of a society shown as more ‘primitive’ highlights what Ward describes (in animated contexts) as “atavism” in its portrayal of cultural phenomenon (Ward in Ehrlich and Murray 2018. Pp74). Within this, he describes how through the documentary lens, “violence and degeneracy in society” relates to atavistic documentary portrayal (2018, pp. 74). Within Nanook of the North (1922), there are scenes such as hunting, and in particular, Nanook biting a record vinyl (highlighting a lack of competence for a ‘white man’s creation’), which indicate the negative impacts of documentary re-enactment. Relating back to the animated documentary and inherently understanding the fictional nature of the documentary film, It feels necessary to highlight in the argument that it is an insufficient factual portrayal. If, for instance, non-fiction behind the live-action camera can be adapted and modelled, ever ‘metamorphosed ‘ into a portrayal of reality, it can be implied that animated documentary could be equally as valid in its documentation, despite the absence of live-action video.

Nanook of the North | TAKE ONE | TAKEONECinema.net

Nanook of the North highlights several issues surrounding re-enactment and its relationship with the documentary form. One could arguably be its problematic representation of society through the western lens. As pointed out by Rothman, while the film aims to showcase this timeless and unmoveable society, it “consistently underplays the extent to which western civilization encroaches upon those traditions” which have drastically changed and affected people such as Nanook to “accommodate themselves and become part of the modern world” (1997, pp.2). It is also stated that Flaherty’s film sponsorship was from a fur company, which ironically contradicts the predatory and violent nature of the group’s portrayal (1997).

Another point of discussion is the feminine portrayal displayed within the film. As stated by Rothman, “the titles have a tendency to inflate Nanook’s importance,” and how the others are simply his followers, giving hierarchal portrayals and implications through the lens (1997, pp2). I think this example supports Paul Wells’s expansion of the “patriarchal agenda seemingly at the heart of live-action filmmaking” (1997, pp. 43). Bringing this into animated contexts provides an interesting contrast that seems to comparatively expand the notion that animation creates a further space for the feminine documentary aesthetic. Key films I think drastically benefit from this are ‘le clitoris (Malépart-Traversy, 2016) and ’some protection’ (Rimminen, 1987), and they highlight uniquely feminine experience’s with more drastic and original aesthetics, which make them stand out in a way that the live-action camera could never effectively encapsulate. I think le clitoris especially, as it anthropomorphises the clitoris into an empathetic animated character with charm, appeal, and comedic value.

The way Nanook address the camera vs when Nyla does, links back to potential ideologies that women must appear prettier and more approachable than the ‘hunter’ who has a sterner and more dominant glare. This projection of the patriarchal agenda on non-western subjects (while perhaps reflecting true internal attitudes) seems very intentional and further highlights the forced performative nature of the documentary piece. While regarding Freudian ideologies in his essay ’femaleness’, the female presence is generally presented as desirable when in direct submission and envy of ’maleness’ (2003).

References

Rothman, W. (1997). Documentary Film Classics. Cambridge University Press; Cambridge.
Wells, P. (1997). The Beautiful Village and The True Village: A Consideration of Animation and the Documentary Aesthetic. Art & Design, Art & Animation. Academy Group: London. pp. 40-45

Research: The Beautiful Village and The True Village- Paul Wells Exploration into Animation and the Documentary Aesthetic

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).

See the source image — McClaren, 1950. *Neighbours*

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

Svankmajer. Dimensions of Dialouge. 1982

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.

Research: Sybil Delgaudio,Paul Ward and Relations to Performance and Subjectivity

Sybil Delgados ” If truth be told, can ‘toons tell it?’ (1997)

Looking at the key text, ”If truth be told, can ‘toons tell it?’ (1997), Sybil Delgado goes on to argue that, in light of Bill Nichols description being “too abstract” and has tendency to ” lose sight of other issues” (Nichols, 1994,pp.95) , the “reflexive” is the most self aware and “utilises the devices of other documentary, foregrounding such devices in an effort to empathises them” (1997, pp.191). This gives implications that perhaps in relation to the subjective translation, the reflexive mode offers an interesting stance tied to viewer association with other documentary forms. Nichols also goes on to state how ” Reflexive techniques, if employed, do not so much estrange us from the text’s own procedures, as draw our attention to the subjectivities” (1994, pp.96). This further insinuates how to reflexive documentary mode can be beneficial when representation subjective stories and opinions.

Delgaudio also discusses ethical dilemma with representing’s versions of factual evidence through animated documentary. They state that the film Evolution (Max and Dave Fleischer, 1925) “provoked Wrath of Fundamentalists who objected to a Darwinian view of creation ” (1997, pp.192). This anger could perhaps stem from the accessibility and popularity of the animated cartoon, especially companies such as Fleischer, and how in the eyes of such fundamentalists, this could lead to mass spread of ‘misinformation’. Delgaudio goes on to discuss how the reflexive mode of documentary is best suited for animation in its form of “metacommentary”(1997,pp.192), and how the reflexive mode can underline the “epistemological doubt” that is seen in the presentation of scientific theory through artistic mediums (1997, pp.193).

Delgaudio’s main arguments surrounds that despite what the film is portraying, all film creators are aware that the film itself is a fabrication.

Paul Ward’s “Animating with Facts: The Performative Process of Documentary Animation in the ten mark (2010)”

An interesting ’documented’ piece Ward brings attention to is a stop motion animated feature called ”The Ten Mark” (Sheehan, 2010) which references the murders of John Christie. Its evocative, still and silent nature brings to attention, in my opinion, Bill Nichols mentions of the performative documentary in which there is more atmospheric implication than overtly stated fact (Nichols, 1994). While the piece does not inherently inform, it provides evocation for its context. This expands on Bill Nichols “Fantasamatic subject “as the empty spaces highlights how ” a lost object haunts the film” (2016,Pp.38). The presence that is missing says more to the viewer than what is shown to them, and the ‘re-enactment’ of a reality tinged with horror that “take on a meaning that is not their usual meaning” (Nichols, 2016, pp.35).

References

Delgaudio, S. (1997) If Truth Be Told, Can Toons Tell It? Documentary and Animation. Film
History, 9(2), pp. 189-199. Available at:https://www-proquest com.arts.idm.oclc.org/docview/2191209/abstract/3E9AC3D7CE22475
6PQ/1?accountid=10342# (Accessed 15/06/2022)

Ward, P. (2011) ‘Animating with Facts: The Performative Process of Documentary Animation
in the ten mark (2010)’, Animation, 6(3), pp. 293–305. doi: 10.1177/1746847711420555.

Synchronised Task

Different types of research

Primary and Secondary Research: For the critical report the last term I had to find more information that expanded outside the general arguments for the validity of animated documentary as a genre. I also had to expand my research into areas such as traditional documentary and re-enactment.
The research for both of these subject areas was secondary and qualitative research as I was finding theories that are already pre-existing to understand the fundamentals of animated documentary film-making and arguments.

Getting Started with Research

an online article I found recently was the following link: 10 Great Animated Documentaries | PBS | Independent Lens. One of the initially attached imagery is the Disney created film Victory through airpower. The Film originates in 1943 and was created as a form of war propaganda about the strategic ariel bombing. The original film can be watched at these archives here: Victory Through Air Power: Walt Disney Studios: Free Download, Borrow, and Streaming: Internet Archive.

Where to Look

Exploring the UAL library there are several key authors that are relevant to the field of filmmaking, documentary and animation which will assist in the theoretical development of my thesis writing. Arguably the most essential author for my thesis will be Annabelle Honess Roe who has written extensively on animated documentaries but also in areas of the film due to her background in traditional film studies. This also applies to authors such as paul wells, who has written about ost areas surrounding the practice of animation and delves not only into an animated documentary but all animation practices which can be useful to apply when assessing the value of an animated creation. Brain Winston is also an author to consider for my thesis writings as he has written about traditional documentary filmmaking without ignoring the existence of the animated documentary and CGI’s relationship around this subject.

Getting Started on a Topic

Relevant Academic journals

Working with objects and artefacts

What is it?
Who made it?
For whom was it made?
Where is it?
Is it the only one?

Research: Classical Animated Documentary and its Contemporary Evolution Talk and Discussion

After attending a discussion on Monday that discussed the new writings of animation academic Cristina Formenti, I discovered several pieces of information that may prove very vital in my own thesis research. One of the key elements of this speech was the categorisation of the animated documentaries genre fitting into a third and more loosely formed category of ‘docudrama’ which allows space for more re-enacted and fictional standpoints within this field.

A key point Formenti brings to attention is the lack of scholarly writings about the historical roots of the animated documentary, as there seems to be arising conceptions that it is purely a contemporary form of factional representation. She went on to discuss how her book help categorises the different ’ages’ in which a variety of animated documentaries can be placed, and expands on a more International view of animated documentaries that branches outside of purely just The United States and Great Britain in which a lot of focus has been placed within the animation field. Another more ethically driven point she argues within her work is the lack of focus on the female leads within the animated documentary field that are potentially overshadowed by features such as “Waltz with Bashir” (2008, Folman) and also expresses that too much literature is conceived on the basis of that particular film creating a wall between newer and older works that are deserving of attention.

The talk overall has left me with various thoughts and considerations to expand on my own thesis writings, and that is largely the inclusion and consideration of different categoric elements and international standpoints when writing about viewer engagement with animated documentaries.

References

Formenti, Cristina. The Classical Animated Documentary and Its Contemporary Evolution, Bloomsbury Academic & Professional, 2022. ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/ual/detail.action?docID=6904339.

Thesis Proposal Task 1

Consider the following questions and try to provide brief answers on your blog for next week.

On graduation which area or environment of production do you wish to focus upon and why?

Upon graduating with this master’s degree I wish to go into character animation or previsualization however I have a deep interest in independently created films that expand and differentiate themselves from mainstream productions.

What skills will you need to attain the standards required for vocational practice?

My primary focus intends to be on studying character animation, by also the stylisation and adaptability of character animation aesthetics are used in various contexts.

How will you showcase your FMP practice for the final shows?

I intend to explore various different visual styles and types of animated methods and compare these to the final completed work in a showreel to show progression within this body of this work and the thought processes in order to reach it.

Is it important to directly connect the thesis research to your practical work?

I think, with my intended goal, it will be important to utilise my thesis research to understand which areas and styles of animated work engage a viewer the most. This should aid and help my overall product’s consumer validity while simultaneously (and hopefully) pushing boundaries on visual mainstream acceptance.

Do you have an area of research you wish to conduct that is unrelated to the practical elements?

I am very interested in narrative and story developments, and also how these can ve applied in various contexts. For example when re-creating a factual depiction with narrative elements in a documentary setting, it explores a line between fact and fiction that creates emotional stimulus.

Thesis Idea- Viewer engagement with Animated Documentary

Going forward with a thesis topic for this coming year, the area of research around viewer engagement with the animated documentary is something I wish to pursue. This is due to the fact that not only will its finding benefit my final major project, but could potentially benefit the area of animated documentary in my findings of with method of animation best accentuates the portrayal of personal experiences in the most visually engaging ways. Key areas I wish to look into include the emotional response of facial expression and scientific areas such as the mirror neuron system which take into considerations aspects of human empathy. I also wish to delve into areas that look at anonymity provided by animation, and confessional and therapeutic aspects of creating personal documentation through animation.

Previous/ Similar Studies Found-

Animated documentary: Viewer engagement, emotion, and performativity – AUBREI – Arts University Bournemouth Research Excellence and Impact (Emotion in Animated film)

Some Research References-

Hill, Annette. “Documentary Modes of Engagement.” In: Austen, Thomas and Wilma De Jong (Eds.). Rethinking Documentary: New Perspectives, New Practices . New York: Open University Press, 2008: 217– 231.
Emotion in Animated Films, edited by Meike Uhrig, Taylor & Francis Group, 2018. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/ual/detail.action?docID=5548779.
Created from ual on 2022-02-11 13:13:12.]

Canet, Fernando and Héctor Perez. “Character Engagement as Central to the Filmmaker– Subject Relationship: En Construcción (José Luis Guerin, 2001) as a Case Study.” Studies in Documentary Film , 10(3), 2016: 215– 232.
Emotion in Animated Films, edited by Meike Uhrig, Taylor & Francis Group, 2018. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/ual/detail.action?docID=5548779.
Created from ual on 2022-02-11 13:14:05.

Fore, Steve. “Reenacting Ryan: The Fantasmatic and the Animated Documentary.” animation: an interdisciplinary journal , 6(3) 2011: 277– 292.
Emotion in Animated Films, edited by Meike Uhrig, Taylor & Francis Group, 2018. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/ual/detail.action?docID=5548779.
Created from ual on 2022-02-11 13:15:10.

Experimental Animation Example Task

It can be argued that Fantasmagoire by Emile Cohl (19dhdhd) is entirely experimental animation, as it represents animation in one of its earliest rudimentary ‘modern’ forms. It experiments with character movement, expression and emotions in ways that, while being a source of entertainment, provide a foundation for the basis of character animation as we have become to know it. While it has a narrative foundation, I feel there is a deeper element at play that could arguably define it further as experimentation.

Making reference to Paul Wells Understanding Animation, Wells states that experimental animation heavily involves abstraction that “redefines ‘the body’ or resists using it as an illustrative image” (1998, p.43). While Phantasmagoria clearly represents characterised human bodies, there is a metamorphic element that explores the ‘interpretive form’ of the characters that “reconstruct a different conception of narrative” that arguably “prioritises abstract forms in motion” over conventional and linear storytelling (Wells, 1998 pp. 43-44). I think its key explorative elements and its founding ideas of assisting in the definition of animation as an art form over entertainment in conception, are what stands out as an experimental piece of work. Wells expansion of the ‘presence of the artist’ is also prevalent in this piece of work, narratively and also psychically as he demonstrates at the start the direct relationship between craft and craftsman, showing Cohls hand directly influencing the draw figure (1998, p.45). I think what separates the work from more conventional animation in its formation is the ‘dream-like’ non-linear narrative provided in the piece that distances itself from relation and has its “ own abstract logic” such as decapitation and defiance of the laws of gravity (Wells, 1998, p.45). I feel this is also accentuated in its titles direct name ‘A fantasy’.

As a piece that is also argued as the first animated cartoon, it is created with intention to create and discover drawn motion and characterisation that distinctly gives it a purpose other than purely entertainment factor, which associates well with the ideaology of experimentation within film and the animated medium.

References

Wells, P. 1998. Understanding Animation. Routledge: Oxon, United Kingdom.

Performative Documentary Form

Researching into the ideas of Bill Nichols and his book Blurred Boundaries (1994), the documentary can have more metaphysical and symbolic methods of representing reality. Nichols Points out Roman Jacobson’s ‘six aspects of communication’, which include expression, referential, poetic, rhetoric, phatic and metacommunicative (1994, p.94).

Hollywood Fiction– This largely includes the ‘absence of reality, fantastical at times.

Expository Documentary– Stems from the 1930s, and directly addresses the real- ‘Overly Didactic.’

Observational Documentary– from the 1960s. Avoids direct commentary makes a record of things as they are happening. This can include a lack of context and historical facts.

Interactive Documentary– From the 1960s- 1970s. However, the person’s interview puts excessive faith in the witness and provides a ‘naive account of history’.

Reflexive Documentary-1980. Arises question to the documentary form. It can be considered too abstract and can lose insight into the factual issues at hand.

Performative Documentary– 1980s-1990s. ‘ Stresses the subjective of classically objective discourses’. The ‘loss of referential emphasis may relegate such films as avant-garde’ and can contain the overuse of style over fact.

Nichols states how the first four types of documentary modes emphasise the referent, while the performative documentary ‘inflects’ these modes into a different form of factual presentation (1994, p.95). Adding more metaphorical and inadvertently ambiguous meaning behind the real world’s presentation can help build a further sense of identity in the documentary, similar to the filmmaker Auter in style. Associating with my thesis topic at hand, the process of conveying personal experience through performative documentary methods could add a further level of emotional empathy in accentuating the symbolic representation of experience and provide interesting points when going into CGI documentary creation. Due to its artificial nature, the creation of assets and environments to accentuate personal recounts of events adds a deeper level of ‘performativity’, which could create additional points against the reliability of animated documentary, further blurring the line between fictional storytelling and factual account.

I feel these points and ideals could link to aspects such as Waltz with Bashir (Folman, 2008), which uses a lot of performative and non inherently overtly referential aspects in the way it represents hallucinatory and mentally constructed accounts of war, however, poses an intriguing statement that supports the real-life experience of the individuals involved. While previously covered in the critical report, the validity of personal experience through animation is something that can be explored further into its effectiveness of genre classification.

A Point Nichols brings forward is the point that performative documentary can embody an ‘existential situatedness’ that is relevant and a precondition of specific ‘class consciousness’ that arises watching more referentially created documentary. These are aspects to consider when viewing and partaking in the creation of the performative documentary as it may not be inherently accessible.

References

Nichols, B. (1994) Blurred Boundaries: Questions of Meaning in Contemporary Culture. Bloomington and Indianapolis: Indiana University Press.