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dc.contributor.authorPiotrowska, Agnieszkaen
dc.date.accessioned2019-09-03T11:55:32Z
dc.date.available2019-09-03T11:55:32Z
dc.date.issued2011-09-09
dc.identifier.citationPiotrowska A (2011) 'Animating the real: a case study', Animation, 6 (3), pp.335-351.en
dc.identifier.issn1746-8477
dc.identifier.doi10.1177/1746847711418566
dc.identifier.urihttp://hdl.handle.net/10547/623418
dc.description.abstractThe ethics of collecting testimonies in documentary filmmaking has been the subject of academic discussion for decades, in particular since Claude Lanzmann’s landmark film Shoah (1985). There are occasions however when a subject of a potential film would like to tell his or her story but for some reason is unable to speak. Language breaks down when an attempt is made to symbolize the trauma. This article gives an account of the author’s experience of such an instance in making a three-part documentary series for the National Geographic about refugees coming to London. The article uses Lacanian psychoanalytical thought to give a theoretical framework to the events leading to the use of animation in the series.
dc.language.isoenen
dc.publisherSAGE Publicationsen
dc.relation.urlhttps://journals.sagepub.com/doi/full/10.1177/1746847711418566en
dc.rightsGreen - can archive pre-print and post-print or publisher's version/PDF
dc.subjectdocumentaryen
dc.subjectpsychoanalysisen
dc.subjectP303 Film studiesen
dc.titleAnimating the real: a case studyen
dc.typeArticleen
dc.identifier.eissn1746-8477
dc.identifier.journalAnimationen
dc.date.updated2019-09-03T11:46:47Z
html.description.abstractThe ethics of collecting testimonies in documentary filmmaking has been the subject of academic discussion for decades, in particular since Claude Lanzmann’s landmark film Shoah (1985). There are occasions however when a subject of a potential film would like to tell his or her story but for some reason is unable to speak. Language breaks down when an attempt is made to symbolize the trauma. This article gives an account of the author’s experience of such an instance in making a three-part documentary series for the National Geographic about refugees coming to London. The article uses Lacanian psychoanalytical thought to give a theoretical framework to the events leading to the use of animation in the series.


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