Barker, Meghanne;
(2024)
Higher truths and so‐called lies: Documentary's animated authenticity.
Visual Anthropology Review
, 40
(1)
pp. 25-38.
10.1111/var.12315.
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Abstract
A masterclass in Serbia on documentary film debates creativity. Experimental and documentary filmmakers in the region assert the boundaries of documentary in order to transgress them. Creativity offers a means to authenticity, animated through viewers' projection. Approaching authenticity as animated rejects preoccupations with the mechanical indexicality of the camera. Rather than focusing on index as trace, the ambivalence of indexicality productively moves between representation and reality. This highlights two paradoxes of documentary: that fictional techniques create a real world and that individuals animate types. Authenticity is fragile. Documentary creativity celebrates this vulnerability, inviting visual anthropology to experiment, as well.
| Type: | Article |
|---|---|
| Title: | Higher truths and so‐called lies: Documentary's animated authenticity |
| Open access status: | An open access version is available from UCL Discovery |
| DOI: | 10.1111/var.12315 |
| Publisher version: | http://dx.doi.org/10.1111/var.12315 |
| Language: | English |
| Additional information: | This is an open access article under the terms of the Creative Commons Attribution License, which permits use, distribution and reproduction in any medium, provided the original work is properly cited. © 2024 The Authors. Visual Anthropology Review published by Wiley Periodicals LLC on behalf of American Anthropological Association. |
| Keywords: | animation, authenticity, documentary, experiment, indexicality |
| UCL classification: | UCL UCL > Provost and Vice Provost Offices > School of Education UCL > Provost and Vice Provost Offices > School of Education > UCL Institute of Education UCL > Provost and Vice Provost Offices > School of Education > UCL Institute of Education > IOE - Education, Practice and Society |
| URI: | https://discovery.ucl.ac.uk/id/eprint/10189413 |
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