Drawn from Life

Jonathan Murray is Senior Lecturer in Film and Visual Culture at the University of Edinburgh. He is the author of The New Scottish Cinema (2015) and Discomfort and Joy (2011), a Contributing Writer for Cineaste magazine and co-Principal Editor of Journal of British Cinema and Television. Nea Ehrlich is Lecturer in The Department of the Arts at Ben Gurion University of the Negev in Israel.

The work of the editors and chapter authors provides a valuable collection of information, philosophical thought and production considerations that every animation teacher, researcher and practitioner need to read and have handy. It will serve as a reference and provide guidance for their own investigation as well as for that of their students.

• Nea Ehrlich and Jonathan Murray, ‘Editors’ Introduction’Section 1: Past and Present1.Pascal Lefèvre, ‘From Contextualisation to Categorisation of Animated Documentaries’2.Mihaela Mihailova, ‘Before Sound, there was Soul: The Role of Animation in Silent Nonfiction Cinema’3.Nea Ehrlich, ‘Indeterminate and Intermediate or Animated Non-Fiction: Why Now?’Section 2: Defining Terms and Contexts4. Paul Ward, ‘Animated Documentary, Recollection, ‘Re-Enactment’ and Temporality’5. Leon Gurevitch, ‘The Documentary Attraction: Animation, Simulation and the Rhetoric of Expertise’6. Paul Wells, ‘Never Mind the Bollackers: Here’s the Repositories, Sites and Archives in Non-Fiction Animation’Section 3: Films and Filmmakers7. Nanette Kraaikamp, ‘Drawings to Remember’8. Andrew Warstat, ‘Adorno, Lewis Klahr and the Shuddering Image’9. Lawrence Thomas Martinelli, ‘The Reasons for Animating Reality: Animated Documentary and Re-enactment in the Work of Jonas Odell’10. Jonathan Murray, ‘Memory Drawn into the Present: Waltz with Bashir and Animated Documentary’Section 4: Practice-based Perspectives11. Jonathan Hodgson, ‘Making The Trouble with Love and Sex’12. Samantha Moore, ‘‘Does this look right?’ Working inside the collaborative frame’13. Sheila M. Sofian, ‘Creative Challenges in the Production of Documentary Animation’