Non-fiction animation is, taken technically as well as from the view point of empirical phenomenology, a probe, piecemeally revealing individual levels of contents by the use of film image and its animation. Its object is adumbration encompassed in the photographical transcript of reality and its possible animations, as well as successions of individual scenes in feature films and the principle of ingenious decoupage in the work of filmmakers and visual artists.
The historical origins of non-fiction will be remembered in the section Dawn of Education which will point out for what purposes has been this kind of animation actually established. Above all was the intention "to record" the happenings either before the invention of cinematography itself or because the cinematographic technique was absent during the actual happenings of these events (e.g. the animated interpretation of the sinking of the Luisitania created in 1918 by Winsor McCay).
Another examples show, how is it possible to use animation for purposes commonly obtained by the photorealistic recording, i. e. in documentaries, educational or edificational series or when dealing with theme which, recorded directly, would seem too brutal or gutter – such as the movie by Tupicoff about a mother retrospecting the day her son was murdered (included in the program section Condensed Reality). Film collected in Scandinavian Power section reflect the most dominant and creative producers of non-fiction animation films – the Scandinavian states. An individual section is devoted to the work of Paul Fierlinger, who primarily reflects his experience of ideological dictate in communist Czechoslovakia as well as the sense of eradication he endured in emigration.
The field of recombination of photorealistic recording will be enriched by the work of experimental filmmaker and visual artist Martin Arnold. The lecture of Austrian theoretician of animated film Franziska Bruckner will disclose the animation procedures of manipulating with the photorealistic recording. Part of the program me would be live-transmitted interview with the living legend of film performance − Ken Jacobs.
Kateřina Surmanová, Martin Mazanec