Animation

Worldwide concern over the recovery of historical memory or the fight for human rights – including, of course, women’s rights – has led to an increase in the number of productions dedicated to this genre in animation. The animated documentary seems the perfect media for animated films based on historical figures or events, but also for stories that allege unfair situations. The use of animation can thus be necessary for a number of reasons, including a lack of documentation, to preserve the identity of the protagonists, or to express experiences that can hardly be captured by the camera; for example, emotions or personal experiences. As Volker Schlecht argues, “great documentaries continue to be produced with real images, but animation offers another way of thinking, of seeing the world, which can sometimes work better” (in Ayuso, n.p.).

A historian of the form has unearthed works by Bessie Mae Kelley that rank as the earliest-known hand-drawn animated films directed by a woman.

Indigenous women’s animated films are emerging as some of the most engaging contemporary digital media. Unfortunately, much like women’s animation in general, this growing body of work has garnered sparse critical attention. This essay seeks to call attention to the growing field and to prompt increased study of its aesthetics.