This paper examines notions of truth in relation to fictive modalities and discourses presented in animation and constructed imagery. It explores how notions of minimal departure and recentering of the audience are utilised within fictive depictions as narrative devices that allow the viewer to integrate truth statements into an understanding of their own world. Drawing upon discussion of documentary animation, it considers how constructed images utilise a range of modalities in order to position discourses and make statements about reality that can affect the audience through emotional connections. Following this, the paper considers Lewis’ and Marie-Laure Ryan’s examination of possible worlds within literary texts. It examines how constructed images negotiate the telling of truths via truth clusters, and how the recentering of audiences in relation to the fictive worlds through those clusters allows for truth to emerge in the bridging between their world and the fictive world. The paper proceeds to question whether texts combining low modalities or high fictionality are able to present truths through a collusion between the audience and authors’ worlds. It explores this notion through an analysis of the animated film Don’t Hug Me I’m Scared and Scavengers. The paper suggests that such texts utilize playful relocation and recentering towards fictive worlds in order to articulate truth claims about our real-world experiences, and can do so through the utilization of lower modalities and significant departures from such experiences.
|Publication title||Confia 2017 International Conference on Illustration & Animation|