Drawn from Life is the first book to explore the field of animated documentaries from a diverse range of scholarly and practice-based perspectives.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Jonathan Murray is Senior Lecturer in Film and Visual Culture at Edinburgh College of Art, University of Edinburgh. Nea Ehrlich is Lecturer in The Department of the Arts at Ben Gurion University of the Negev in Israel.
Inhaltsangabe
Nea Ehrlich and Jonathan Murray, 'Editors' Introduction' Section 1: Past and Present 1.Pascal Lefèvre, 'From Contextualisation to Categorisation of Animated Documentaries' 2.Mihaela Mihailova, 'Before Sound, there was Soul: The Role of Animation in Silent Nonfiction Cinema' 3.Nea Ehrlich, 'Indeterminate and Intermediate or Animated Non-Fiction: Why Now?' Section 2: Defining Terms and Contexts 4. Paul Ward, 'Animated Documentary, Recollection, 'Re-Enactment' and Temporality' 5. Leon Gurevitch, 'The Documentary Attraction: Animation, Simulation and the Rhetoric of Expertise' 6. Paul Wells, 'Never Mind the Bollackers: Here's the Repositories, Sites and Archives in Non-Fiction Animation' Section 3: Films and Filmmakers 7. Nanette Kraaikamp, 'Drawings to Remember' 8. Andrew Warstat, 'Adorno, Lewis Klahr and the Shuddering Image' 9. Lawrence Thomas Martinelli, 'The Reasons for Animating Reality: Animated Documentary and Re-enactment in the Work of Jonas Odell' 10. Jonathan Murray, 'Memory Drawn into the Present: Waltz with Bashir and Animated Documentary' Section 4: Practice-based Perspectives 11. Jonathan Hodgson, 'Making The Trouble with Love and Sex' 12. Samantha Moore, ''Does this look right?' Working inside the collaborative frame' 13. Sheila M. Sofian, 'Creative Challenges in the Production of Documentary Animation'
Nea Ehrlich and Jonathan Murray, 'Editors' Introduction' Section 1: Past and Present 1.Pascal Lefèvre, 'From Contextualisation to Categorisation of Animated Documentaries' 2.Mihaela Mihailova, 'Before Sound, there was Soul: The Role of Animation in Silent Nonfiction Cinema' 3.Nea Ehrlich, 'Indeterminate and Intermediate or Animated Non-Fiction: Why Now?' Section 2: Defining Terms and Contexts 4. Paul Ward, 'Animated Documentary, Recollection, 'Re-Enactment' and Temporality' 5. Leon Gurevitch, 'The Documentary Attraction: Animation, Simulation and the Rhetoric of Expertise' 6. Paul Wells, 'Never Mind the Bollackers: Here's the Repositories, Sites and Archives in Non-Fiction Animation' Section 3: Films and Filmmakers 7. Nanette Kraaikamp, 'Drawings to Remember' 8. Andrew Warstat, 'Adorno, Lewis Klahr and the Shuddering Image' 9. Lawrence Thomas Martinelli, 'The Reasons for Animating Reality: Animated Documentary and Re-enactment in the Work of Jonas Odell' 10. Jonathan Murray, 'Memory Drawn into the Present: Waltz with Bashir and Animated Documentary' Section 4: Practice-based Perspectives 11. Jonathan Hodgson, 'Making The Trouble with Love and Sex' 12. Samantha Moore, ''Does this look right?' Working inside the collaborative frame' 13. Sheila M. Sofian, 'Creative Challenges in the Production of Documentary Animation'
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