Contents

pp v-vi

List of Figures

pp vii-vii

The Contributors

pp viii-x

Editors’ Introduction

pp 1-12

Part 1 - Past and Present

pp 13-14

1 - From Contextualisation to Categorisation of Animated Documentaries

pp 15-30

2 - Before Sound, there was Soul: The Role of Animation in Silent Nonfiction Cinema

pp 31-46

3 - Indeterminate and Intermediate or Animated Nonfiction: Why Now?

pp 47-66

Part 2 - Defining Terms and Contexts

pp 67-68

4 - Animated Documentary, Recollection, ‘Re-enactment’ and Temporality

pp 69-83

5 - The Documentary Attraction: Animation, Simulation and the Rhetoric of Expertise

pp 84-105

6 - Never Mind the Bollackers: Here’s the Repositories, Sites and Archives in Nonfiction Animation

pp 106-126

Part 3 - Films and Filmmakers

pp 127-128

7 - Drawings to Remember

pp 129-142

8 - Adorno, Lewis Klahr and the Shuddering Image

pp 143-157

9 - The Reasons for Animating Reality: Animated Documentary and Re-enactment in the Work of Jonas Odell

pp 158-171

10 - Memory Drawn into the Present: Waltz with Bashir and Animated Documentary

pp 172-188

Part 4 - Practice-based Perspectives

pp 189-190

11 - Making The Trouble with Love and Sex

pp 191-205

12 - ‘Does this look right?’ Working Inside the Collaborative Frame

pp 206-220

13 - Creative Challenges in the Production of Documentary Animation

pp 221-234

Index

pp 235-240