Animations: D.W. Winnicott and the Contemporary Animated Documentary

Nea Ehrlich

doi:https://doi.org/10.4324/9780203079232-14

Animations: D.W. Winnicott and the Contemporary Animated Documentary

Research output: Chapter in Book/Report/Conference proceeding › Chapter › peer-review

Abstract

Since the 1990s there has been an increase in the use of documentary materials in film and visual arts (Nash, “Reality in the Age of Aesthetics,” 2008), of which the animated documentary is a recent development. The diverse uses of documentary materials give rise to epistemological debates regarding representational instability of “truth,” subjective accounts of events, interpretation, and fantasy. Bringing into this discussion ideas originating in D. W. Winnicott’s psychoanalytic theory about transitional phenomena highlights the potency of the animated documentary in contemporary visual culture.

Original language	American English
Title of host publication	Theorizing Visual Studies: Writing Through the Discipline
Editors	James Elkins, Kristi McGuire, Alicia Chester, Maureen Burns, Joel Kuennen
Pages	73-76
Number of pages	4
ISBN (Electronic)	9781136159176
DOIs	https://doi.org/10.4324/9780203079232-14
State	Published - 1 Jan 2012
Externally published	Yes

All Science Journal Classification (ASJC) codes

General Arts and Humanities
General Social Sciences

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https://doi.org/10.4324/9780203079232-14

Cite this

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Animations: D.W. Winnicott and the Contemporary Animated Documentary

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