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Post/Documentary: Referential Multimodality in “Animated Documentaries” and “Documentary Games”

Thon, Jan-Noël

Poetics today, 2019-06, Vol.40 (2), p.269-297 [Periódico revisado por pares]

Durham: Duke University Press

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  • Título:
    Post/Documentary: Referential Multimodality in “Animated Documentaries” and “Documentary Games”
  • Autor: Thon, Jan-Noël
  • Assuntos: Animated films ; Creativity ; Cultural Studies ; Documentary films ; Literary Criticism ; Literary Theory ; Literature and Literary Studies ; Media ; Media Studies ; Motion pictures ; Multimodality ; Nonfiction ; Semiotics ; Subjectivity
  • É parte de: Poetics today, 2019-06, Vol.40 (2), p.269-297
  • Descrição: From John Grierson’s influential early definition of documentary as “the creative treatment of actuality” via documentary studies’ reconstruction of the multitude of existing forms to philosophers’ attempts to develop comprehensive accounts of documentary as a specific kind of nonfiction film, the concept of documentary has been both fiercely contested and, through these debates, continuously expanded to refer to an ever more extensive corpus of works. By now, there is a broad consensus that documentary film as a genre cannot be reduced to supposedly “objective” recordings of the actual world, as both various kinds of reenactments and sometimes radical forms of subjectivity have (yet again) become well-established elements of many documentary films. However, it would seem that summarily treating “hybrid” documentary films, “animated documentaries,” and “documentary games” as nothing but the most recent chapter of the history of documentary occludes more than it illuminates. Instead, this article proposes to examine the “animated documentaries” (2007) and (2008) as well as the “documentary games” (2004) and (2011) through the lens of , thus emphasizing not just their but also their occasionally rather complex
  • Editor: Durham: Duke University Press
  • Idioma: Inglês
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