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Informationen zum Autor 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. Klappentext Drawn from Life: Issues and Themes in Animated Documentary CinemaEdited by Jonathan Murray and Nea EhrlichDocumentary cinema has always drawn from real life, but an increasing number of contemporary filmmakers go yet further still, drawing onscreen images of reality through a range of animated filmmaking techniques. Drawn from Life is the first anthology publication to explore the field of animated documentaries from a diverse range of scholarly and practice-based perspectives, exploring and proposing answers to a range of questions that preoccupy twenty-first-century film artists and audiences alike: Why use animation to document? How do such images reflect and influence our understanding and experience of reality, whether public or private, psychological or political? From early cinema to present-day scientific research, military uses, digital art and gaming, this book casts new light on the capacity of the moving image to act as a record of the world around us, challenging the orthodox definitions of documentary cinema.Jonathan Murray is Senior Lecturer in Film and Visual Culture at Edinburgh College of Art, University of EdinburghNea Ehrlich is Lecturer in The Department of the Arts at Ben Gurion University of the Negev in IsraelDrawn from Life, a multidisciplinary anthology, introduces readers to a diverse range of filmmakers past and present who use the animated image as a documentary tool. In doing so, it explores a range of questions that preoccupy twenty-first-century film artists and audiences alike. Inhaltsverzeichnis Nea Ehrlich and Jonathan Murray, 'Editors' Introduction'Section 1: Past and Present1.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 Contexts4. 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 Filmmakers7. 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 Perspectives11. 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' ...
