Experiments in Hybrid Documentary and Indigenous Model Animation
Nonfiction has proved to be a long-term strategy of Native/First Nations filmmakers and, as this documentary tradition moves across contemporary mediums, one corner of its experimental aesthetics has focalized around animation. This article explores hybrid documentary approaches in Indigenous model...
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2021
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Online Access: | http://dx.doi.org/10.1177/17468477211025664 http://journals.sagepub.com/doi/pdf/10.1177/17468477211025664 http://journals.sagepub.com/doi/full-xml/10.1177/17468477211025664 |
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crsagepubl:10.1177/17468477211025664 2023-05-15T16:16:40+02:00 Experiments in Hybrid Documentary and Indigenous Model Animation Miner, Joshua D 2021 http://dx.doi.org/10.1177/17468477211025664 http://journals.sagepub.com/doi/pdf/10.1177/17468477211025664 http://journals.sagepub.com/doi/full-xml/10.1177/17468477211025664 en eng SAGE Publications http://journals.sagepub.com/page/policies/text-and-data-mining-license Animation volume 16, issue 1-2, page 6-20 ISSN 1746-8477 1746-8485 Visual Arts and Performing Arts journal-article 2021 crsagepubl https://doi.org/10.1177/17468477211025664 2022-04-14T04:41:24Z Nonfiction has proved to be a long-term strategy of Native/First Nations filmmakers and, as this documentary tradition moves across contemporary mediums, one corner of its experimental aesthetics has focalized around animation. This article explores hybrid documentary approaches in Indigenous model animation across techniques and styles, namely digitally-supplemented stop-motion and game-based machinima. It begins by examining three principal characteristics of Indigenous animated documentaries: (1) they engage with the politics of documentary in the context of Indigenous and settler-colonial history; (2) they use animation to record stories and express ideas not authorized by the settler archive; and (3) they communicate via embedded Indigenous aesthetics and cultural protocols. A material analysis of Indigenous animation then accounts for how three Native artists centre re-mediation and re-embodiment in their work. These artists adapt new techniques in animation to documentary as a process of decolonization, precipitating a distinct hybrid aesthetics that travels across forms to question the veracity of settler documentary. Each reconstructs histories of settler colonialism – which has always chosen to record and authorize as ‘history’ some images and narratives and not others – with model animation practices and new media platforms. Indigenous animation expresses slippages between nonfiction and fiction by creating imagined documents, which strike at the legitimacy of settler institutions. Article in Journal/Newspaper First Nations SAGE Publications (via Crossref) Animation 16 1-2 6 20 |
institution |
Open Polar |
collection |
SAGE Publications (via Crossref) |
op_collection_id |
crsagepubl |
language |
English |
topic |
Visual Arts and Performing Arts |
spellingShingle |
Visual Arts and Performing Arts Miner, Joshua D Experiments in Hybrid Documentary and Indigenous Model Animation |
topic_facet |
Visual Arts and Performing Arts |
description |
Nonfiction has proved to be a long-term strategy of Native/First Nations filmmakers and, as this documentary tradition moves across contemporary mediums, one corner of its experimental aesthetics has focalized around animation. This article explores hybrid documentary approaches in Indigenous model animation across techniques and styles, namely digitally-supplemented stop-motion and game-based machinima. It begins by examining three principal characteristics of Indigenous animated documentaries: (1) they engage with the politics of documentary in the context of Indigenous and settler-colonial history; (2) they use animation to record stories and express ideas not authorized by the settler archive; and (3) they communicate via embedded Indigenous aesthetics and cultural protocols. A material analysis of Indigenous animation then accounts for how three Native artists centre re-mediation and re-embodiment in their work. These artists adapt new techniques in animation to documentary as a process of decolonization, precipitating a distinct hybrid aesthetics that travels across forms to question the veracity of settler documentary. Each reconstructs histories of settler colonialism – which has always chosen to record and authorize as ‘history’ some images and narratives and not others – with model animation practices and new media platforms. Indigenous animation expresses slippages between nonfiction and fiction by creating imagined documents, which strike at the legitimacy of settler institutions. |
format |
Article in Journal/Newspaper |
author |
Miner, Joshua D |
author_facet |
Miner, Joshua D |
author_sort |
Miner, Joshua D |
title |
Experiments in Hybrid Documentary and Indigenous Model Animation |
title_short |
Experiments in Hybrid Documentary and Indigenous Model Animation |
title_full |
Experiments in Hybrid Documentary and Indigenous Model Animation |
title_fullStr |
Experiments in Hybrid Documentary and Indigenous Model Animation |
title_full_unstemmed |
Experiments in Hybrid Documentary and Indigenous Model Animation |
title_sort |
experiments in hybrid documentary and indigenous model animation |
publisher |
SAGE Publications |
publishDate |
2021 |
url |
http://dx.doi.org/10.1177/17468477211025664 http://journals.sagepub.com/doi/pdf/10.1177/17468477211025664 http://journals.sagepub.com/doi/full-xml/10.1177/17468477211025664 |
genre |
First Nations |
genre_facet |
First Nations |
op_source |
Animation volume 16, issue 1-2, page 6-20 ISSN 1746-8477 1746-8485 |
op_rights |
http://journals.sagepub.com/page/policies/text-and-data-mining-license |
op_doi |
https://doi.org/10.1177/17468477211025664 |
container_title |
Animation |
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16 |
container_issue |
1-2 |
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6 |
op_container_end_page |
20 |
_version_ |
1766002530546876416 |