Animación, documental y memoria. La representación animada de la dictadura chilena
DOI:
https://doi.org/10.7764/cdi.43.1381Palabras clave:
cine animado, segmentos animados, documental animado, memoria, dictadura, ChileResumen
La animación aparece cada vez más en producciones sobre sucesos relacionados con la memoria. Nuestro objetivo es analizar las obras que incorporan escenas animadas para representar la dictadura chilena y profundizar en la convergencia entre animación, documental y memoria. Desde una perspectiva cualitativa, combinamos el análisis de las animaciones con entrevistas a sus directores. Los resultados muestran que la animación es un formato versátil, que permite a los autores superar la ausencia de imágenes de archivo, suavizar el grado de representación de los sucesos traumáticos, abaratar costes, conectar la memoria con las nuevas generaciones y favorecer la empatía del espectador.
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Barthes, R. (1986). Lo obvio y lo obtuso: Imágenes, gestos, voces [The obvious and the obtuse: Images, gestures, voices]. Barcelona: Paidós.
Beckman, K. (2011). Animation on trial. Animation, 6(3), 259-275. https://doi.org/10.1177/1746847711416568
Brown, N. (2017). Children’s Film: Genre, Nation, and Narrative. Columbia: Columbia University Press.
Bruzzi, S. (2006). New Documentary: A Critical Introduction. London: Routledge.
Campbell, J. & Harbord, J. (Eds.). (2002). Temporalities, Autobiography and Everyday Life. Manchester: Manchester University Press.
Díaz, C. (2007, July 18). Golpe de espejo [Mirror blow]. Retrieved from http://golpedeespejo.blogspot.com.es/
García-González, M. (2017). Narrando la Dictadura a la Infancia. Imágenes que trafican significados [Narrating Dictatorship for Childhood. Images that Smuggle Meanings]. Catedral Tomada, 5(9), 84-108. https://doi.org/10.5195/ct/2017.243
Hight, C. (2008). Primetime digital documentary animation: The photographic and graphic within play. Studies in Documentary Film, 2(1), 9-31. Retrieved from https://www.tandfonline.com/doi/abs/10.1386/sdf.2.1.9_1
Honess Roe, A. (2009). Animating Documentary. Los Angeles: University of Southern California.
Honess Roe, A. (2011). Absence, excess and epistemological expansion: Towards a framework for the study of animated documentary. Animation, 6(3), 215-230. https://doi.org/10.1177/1746847711417954
Honess Roe, A. (2013). Animated Documentary. New York: Palgrave Macmillan.
Lasseter, J. (2001, November 23). Welcome to my world. The Guardian. Retrieved from http://www.theguardian.com
Londres 38. (2012). Trazos de memoria. Ilustraciones animadas creadas a partir de los testimonios del archivo audiovisual de Londres 38, espacio de memorias [Memory traces. Animated illustrations created from the testimonies of the audio-visual archive of Londres 38, space of memories]. Santiago, Chile: Londres 38, espacio de memorias y Ludoismo. Retrieved from http://www.londres38.cl/1934/articles-93467_recurso_1.pdf
Menna, A. (2013). Ari Folman’s Ethical, Psychic Warzone. Intertext, 21(1), 12-15. Retrieved from https://surface.syr.edu/intertext/vol21/iss1/9
Matzkeit, A. (2013, October 28). Animierte Dokumentarfilme - Im Gespräch mit Annegret Richter [Animated documentary films - In conversation with Annegret Richter]. Real virtuality. Retrieved from http://realvirtuality.info/
Missomelius, P. (2015). Bewegtbildpraktiken zwischen traditionellen und digitalen Medien: Das Mashup als paradigmatische Form igitaler Medienkulturen [Moving image practices between traditional and digital media: the mashup as a paradigmatic form of digital media cultures]. In F. Mundhenke, F. Ramos Arenas, & T. Wilke (Eds.), Mashups. Neue Praktiken und Ästhetiken in populären Medienkulturen [Mashups. New practices and aesthetics in popular media cultures] (pp. 227-243). Wiesbaden: Springer. https://doi.org/10.1007/978-3-658-05753-4_14
Mori, M. (1970). The Uncanny Valley. Energy, 7(4), 33-35.
Mundhenke, F. (2017). Zwischen Dokumentar-und Spielfilm: Zur Repräsentation und Rezeption von Hybrid-Formen [Between documentary and feature film: For the representation and reception of hybrid
forms]. Wiesbaden: Springer. https://doi.org/10.1007/978-3-658-15603-9
Nichols, B. (1997). La representación de la realidad [The representation of reality]. Barcelona: Paidós.
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Nichols, B. (2008). Documentary Reenactment and the Fantasmatic Subject. Critical Inquiry, 35(1), 72-89. https://doi.org/10.1086/595629
Osorio, G. (2016). Director’s statement. Bearstory.cl. Retrieved from http://bearstory.cl/
Peña, C. (2012, April 1). Los sastres de la Escuela Militar [The tailors of the Military School]. La Tercera. Retrieved from http://www.latercera.cl
Perasso, V. (2016, February 29). “Historia de un oso”, el corto animado que logró el primer Oscar de la historia para Chile [“Bear Story”, the animated short film that won the first Oscar in history for Chile]. BBC Mundo. Retrieved from https://www.bbc.com/mundo
Pérez, C. (Producer), & Díaz, (Director). (2008). Golpe de espejo [Mirror Shot]. Chile: Iconoanima.
Quijada, L. (2016). Cómo Hicimos Trazos de Memoria [How We Created Memory Traces] [video file]. Retrieved from http://www.londres38.cl/1934/w3-article-98933.html
Richter, A. (2011). Zeichnung der Wirklichkeit. Animation als dokumentarisches Mittel [Drawing of reality. Animation as documentary means]. In W. Grausgruber & B. Wagner (Eds.), Tricky Women. Animations-FilmKunst von Frauen [Tricky Women. Animation- movie art of women] (pp. 125-132). Marburg: Schüren.
Rodríguez, A. (2016, February 29). Un oso y los ecos de la dictadura chilena, contra Pixar [A bear and the echoes of the Chilean dictatorship, against Pixar]. El País. Retrieved from http://www.elpais.com
Sánchez-Biosca, V. (2016). Modos de mirar, actos de matar. Miradas desde el nuevo siglo [Modes of looking, acts of killing. Looks from the new century]. In R. Cueto (Ed.), The Act of Killing (pp. 11-24). San Sebastián: DONOSTIA ZINEMALDIA.
Schwab, G. (2015). Escribir contra la memoria y el olvido [Write against memory and oblivion]. In S. Mandolessi & M. Alonso (Eds.), Estudios sobre memoria. Perspectivas actuales y nuevos escenarios [Studies on memory. Current perspectives and new scenarios] (pp. 53-84). Villa María: Eduvim.
Skoller, J. (2011). Introduction to the Special Issue Making It (Un)real: Contemporary Theories and Practices in Documentary Animation. Animation: an Interdisciplinary Journal, 6(3), 207-214. https://doi.org/10.1177/1746847711422496
Strøm, G. (2003). The Animated Documentary. Animation Journal, 11, 46-63.
Tinwell, A. (2014). The Uncanny Valley in Games and Animation. Boca Raton: CRC Press.
Tinwell, A., Grimshaw, M., & Abdel-Nabi, D. (2014). The Uncanny Valley and Nonverbal Communication in Virtual Characters. In J. Tanenbaum, M. S. El-Nasr, & M. Nixon (Eds.), Nonverbal Communication in Virtual Worlds (pp. 325-341). Carnegie Mellon University: ETC Press.
Ward, P. (2005). Documentary: The Margins of Reality. New York: Columbia University Press.
Ward, P. (2011). Animating with Facts: The performative process of documentary animation in the ten mark. Animation, 6(3), 293-305. https://doi.org/10.1177/1746847711420555
Wells, P. (1997). The beautiful village and the true village: a consideration of animation and the documentary aesthetic. In P. Wells (Ed.), Art & Animation (pp. 40-45). London: Academy Editions.
Wells, P. (1998). Understanding Animation. London: Routledge.
Araya, R., Escobar, A., & Naranjo, R. (2016, February 29). Integrante de Dënver por ‘Historia de un Oso’: Nadie imaginó la magnitud de este proyecto [Member of Dënver discussing ‘Bear Story’: No one imagined the magnitude of this Project]. Bío Bío Chile. Retrieved from http://www.biobiochile.cl
Barthes, R. (1986). Lo obvio y lo obtuso: Imágenes, gestos, voces [The obvious and the obtuse: Images, gestures, voices]. Barcelona: Paidós.
Beckman, K. (2011). Animation on trial. Animation, 6(3), 259-275. https://doi.org/10.1177/1746847711416568
Brown, N. (2017). Children’s Film: Genre, Nation, and Narrative. Columbia: Columbia University Press.
Bruzzi, S. (2006). New Documentary: A Critical Introduction. London: Routledge.
Campbell, J. & Harbord, J. (Eds.). (2002). Temporalities, Autobiography and Everyday Life. Manchester: Manchester University Press.
Díaz, C. (2007, July 18). Golpe de espejo [Mirror blow]. Retrieved from http://golpedeespejo.blogspot.com.es/
García-González, M. (2017). Narrando la Dictadura a la Infancia. Imágenes que trafican significados [Narrating Dictatorship for Childhood. Images that Smuggle Meanings]. Catedral Tomada, 5(9), 84-108. https://doi.org/10.5195/ct/2017.243
Hight, C. (2008). Primetime digital documentary animation: The photographic and graphic within play. Studies in Documentary Film, 2(1), 9-31. Retrieved from https://www.tandfonline.com/doi/abs/10.1386/sdf.2.1.9_1
Honess Roe, A. (2009). Animating Documentary. Los Angeles: University of Southern California.
Honess Roe, A. (2011). Absence, excess and epistemological expansion: Towards a framework for the study of animated documentary. Animation, 6(3), 215-230. https://doi.org/10.1177/1746847711417954
Honess Roe, A. (2013). Animated Documentary. New York: Palgrave Macmillan.
Lasseter, J. (2001, November 23). Welcome to my world. The Guardian. Retrieved from http://www.theguardian.com
Londres 38. (2012). Trazos de memoria. Ilustraciones animadas creadas a partir de los testimonios del archivo audiovisual de Londres 38, espacio de memorias [Memory traces. Animated illustrations created from the testimonies of the audio-visual archive of Londres 38, space of memories]. Santiago, Chile: Londres 38, espacio de memorias y Ludoismo. Retrieved from http://www.londres38.cl/1934/articles-93467_recurso_1.pdf
Menna, A. (2013). Ari Folman’s Ethical, Psychic Warzone. Intertext, 21(1), 12-15. Retrieved from https://surface.syr.edu/intertext/vol21/iss1/9
Matzkeit, A. (2013, October 28). Animierte Dokumentarfilme - Im Gespräch mit Annegret Richter [Animated documentary films - In conversation with Annegret Richter]. Real virtuality. Retrieved from http://realvirtuality.info/
Missomelius, P. (2015). Bewegtbildpraktiken zwischen traditionellen und digitalen Medien: Das Mashup als paradigmatische Form igitaler Medienkulturen [Moving image practices between traditional and digital media: the mashup as a paradigmatic form of digital media cultures]. In F. Mundhenke, F. Ramos Arenas, & T. Wilke (Eds.), Mashups. Neue Praktiken und Ästhetiken in populären Medienkulturen [Mashups. New practices and aesthetics in popular media cultures] (pp. 227-243). Wiesbaden: Springer. https://doi.org/10.1007/978-3-658-05753-4_14
Mori, M. (1970). The Uncanny Valley. Energy, 7(4), 33-35.
Mundhenke, F. (2017). Zwischen Dokumentar-und Spielfilm: Zur Repräsentation und Rezeption von Hybrid-Formen [Between documentary and feature film: For the representation and reception of hybrid
forms]. Wiesbaden: Springer. https://doi.org/10.1007/978-3-658-15603-9
Nichols, B. (1997). La representación de la realidad [The representation of reality]. Barcelona: Paidós.
Nichols, B. (2001). Introduction to documentary. Bloomington: Indiana University Press.
Nichols, B. (2008). Documentary Reenactment and the Fantasmatic Subject. Critical Inquiry, 35(1), 72-89. https://doi.org/10.1086/595629
Osorio, G. (2016). Director’s statement. Bearstory.cl. Retrieved from http://bearstory.cl/
Peña, C. (2012, April 1). Los sastres de la Escuela Militar [The tailors of the Military School]. La Tercera. Retrieved from http://www.latercera.cl
Perasso, V. (2016, February 29). “Historia de un oso”, el corto animado que logró el primer Oscar de la historia para Chile [“Bear Story”, the animated short film that won the first Oscar in history for Chile]. BBC Mundo. Retrieved from https://www.bbc.com/mundo
Pérez, C. (Producer), & Díaz, (Director). (2008). Golpe de espejo [Mirror Shot]. Chile: Iconoanima.
Quijada, L. (2016). Cómo Hicimos Trazos de Memoria [How We Created Memory Traces] [video file]. Retrieved from http://www.londres38.cl/1934/w3-article-98933.html
Richter, A. (2011). Zeichnung der Wirklichkeit. Animation als dokumentarisches Mittel [Drawing of reality. Animation as documentary means]. In W. Grausgruber & B. Wagner (Eds.), Tricky Women. Animations-FilmKunst von Frauen [Tricky Women. Animation- movie art of women] (pp. 125-132). Marburg: Schüren.
Rodríguez, A. (2016, February 29). Un oso y los ecos de la dictadura chilena, contra Pixar [A bear and the echoes of the Chilean dictatorship, against Pixar]. El País. Retrieved from http://www.elpais.com
Sánchez-Biosca, V. (2016). Modos de mirar, actos de matar. Miradas desde el nuevo siglo [Modes of looking, acts of killing. Looks from the new century]. In R. Cueto (Ed.), The Act of Killing (pp. 11-24). San Sebastián: DONOSTIA ZINEMALDIA.
Schwab, G. (2015). Escribir contra la memoria y el olvido [Write against memory and oblivion]. In S. Mandolessi & M. Alonso (Eds.), Estudios sobre memoria. Perspectivas actuales y nuevos escenarios [Studies on memory. Current perspectives and new scenarios] (pp. 53-84). Villa María: Eduvim.
Skoller, J. (2011). Introduction to the Special Issue Making It (Un)real: Contemporary Theories and Practices in Documentary Animation. Animation: an Interdisciplinary Journal, 6(3), 207-214. https://doi.org/10.1177/1746847711422496
Strøm, G. (2003). The Animated Documentary. Animation Journal, 11, 46-63.
Tinwell, A. (2014). The Uncanny Valley in Games and Animation. Boca Raton: CRC Press.
Tinwell, A., Grimshaw, M., & Abdel-Nabi, D. (2014). The Uncanny Valley and Nonverbal Communication in Virtual Characters. In J. Tanenbaum, M. S. El-Nasr, & M. Nixon (Eds.), Nonverbal Communication in Virtual Worlds (pp. 325-341). Carnegie Mellon University: ETC Press.
Ward, P. (2005). Documentary: The Margins of Reality. New York: Columbia University Press.
Ward, P. (2011). Animating with Facts: The performative process of documentary animation in the ten mark. Animation, 6(3), 293-305. https://doi.org/10.1177/1746847711420555
Wells, P. (1997). The beautiful village and the true village: a consideration of animation and the documentary aesthetic. In P. Wells (Ed.), Art & Animation (pp. 40-45). London: Academy Editions.
Wells, P. (1998). Understanding Animation. London: Routledge.
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Publicado
2018-12-30
Cómo citar
Fenoll, V. . (2018). Animación, documental y memoria. La representación animada de la dictadura chilena. Cuadernos.Info, (43), 45–56. https://doi.org/10.7764/cdi.43.1381
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