ASSMAN, Jan, 1995. “Collective Memory and Cultural Identity”, New German Critique, no. 65, pp. 125-133. https://doi.org/10.2307/488538
BENJAMIN, Walter, 1968 [1939]. “On some motifs in Baudelaire”, en ARENDT, Hannah (ed.), Illuminations, Nueva York: Schocken Books, pp. 155-200.
BENJAMIN, Walter, 1968 [1940]. “Theses on the philosophy of history”, en ARENDT, Hannah (ed.), Illuminations, Nueva York: Schocken Books, pp. 253-264.
[+]
ASSMAN, Jan, 1995. “Collective Memory and Cultural Identity”, New German Critique, no. 65, pp. 125-133. https://doi.org/10.2307/488538
BENJAMIN, Walter, 1968 [1939]. “On some motifs in Baudelaire”, en ARENDT, Hannah (ed.), Illuminations, Nueva York: Schocken Books, pp. 155-200.
BENJAMIN, Walter, 1968 [1940]. “Theses on the philosophy of history”, en ARENDT, Hannah (ed.), Illuminations, Nueva York: Schocken Books, pp. 253-264.
BENJAMIN, Walter, 1996 [1982]. La dialéctica en suspenso. Fragmentos sobre la historia, Santiago de Chile: Arcis/Lom. (Gesammelte Schriften, Frankfurt am Main: Suhrkamp-Verlag).
BENJAMIN, Walter, 1999 [1982]. The Arcades Project, Cambridge, MA: Belknap Press. (Gesammelte Schriften, Frankfurt am Main: Suhrkamp-Verlag).
BENJAMIN, Walter, 2005 [1982]. Libro de los pasajes, Madrid: Akal. (Gesammelte Schriften, Frankfurt am Main: Suhrkamp-Verlag).
BENJAMIN, Walter, 2008 [1985]. Escritos autobiográficos, Madrid: Alianza. (Fragmente Autobiographische Schriften, Frankfurt am Main: Suhrkamp-Verlag).
BUCK-MORSS, Susan, 1993. “Dream World of Mass Culture. Walter Benjamin’s Theory of Modernity and the Dialectics of Seeing”, en KLEINBERG-LEVIN, David (ed.), Modernity and the Hegemony of Vision, Berkeley/Londres: University of California Press, pp. 309-338.
DE LUELMO JAREÑO, José María, 2007. “La historia al trasluz: Walter Benjamin y el concepto de imagen dialéctica”, Escritura e imagen, vol. 3, pp. 163-176.
GAINES, Jane M., 1999. “Political mimesis”, en GAINES, Jane M., RENOV, Michael (eds.), Collecting Visible Evidence, Minneapolis: University of Minnesota Press, pp. 84-103.
GRODAL, Torben, 2018. “Aesthetics and Psychology of Animated Films”, en UHRIG, Meike (ed.), Emotion in Animated Films, Nueva York: Routledge, pp. 107-121. https://doi.org/10.4324/9780203731253-6
HACHERO HERNÁNDEZ, Bruno, 2015. “Deformar a la Gorgona: la imagen animada como estrategia para documentar el horror”, Con A de animación, nº 5, pp. 114-125. https://doi.org/10.4995/caa.2015.3542
KLEINMANN, James, 2021. “Exclusive Interview: Jonas Poher Rasmussen on his remarkable Oscar-nominated documentary Flee ‘I hope the film will give a human face to the refugee story’”, The Queer Review, 2 de diciembre de 2021 (https://thequeerreview.com/2021/12/02/interview-jonas-poher-rasmussen-on-his-remarkable-documentary-flee-refugee-lgbtq/ [acceso: mayo, 2022]).
KUNZ, Sahra, 2012. “The Role of Drawing in Animated Films”, CONFIA. I Conference on Illustration & Animation, Portugal: IPCA, pp. 51-66.
LANDESMAN, Ohad, BENDOR, Roy, 2011. “Animated Recollection and Spectatorial Experience in Waltz with Bashir”, en Animation, vol. 6, no. 3, pp. 353-370. https://doi.org/10.1177/1746847711417775
LORENZO HERNÁNDEZ, María, 2014. “Cuadernos de viaje animados: memoria, tránsito y experiencia”, en ASÍS FERRI, Paula, GONZÁLEZ, Alejandro (eds.), 2014. Actas del III Foro Internacional sobre Animación - ANIMA 2013, Córdoba: Universidad Nacional de Córdoba, pp. 135-152.
LYPP, Bernhard, 2010. “Schauplätze des Gedächtnisses. Reflexionen auf den Spuren von Walter Benjamin”, Akzente Zeitschrift für Literatur, n. 2, pp. 181-191.
McCLOUD, Scott, 1994. Understanding Comics. The Invisible Art, Nueva York: Harper Collins.
MORAL MARTÍN, Javier, DEL CAZ PÉREZ, Beatriz, 2020. “De Angola a Yugoslavia. Periodismo, conflictos bélicos y documental animado”, Con A de animación, nº 11, pp. 60-73. https://doi.org/10.4995/caa.2020.13983
NICHOLS, Bill, 2008. “Documentary Reenactment and the Fantasmatic Subject”, Critical Inquiry, vol. 35, no. 1, pp. 72-89. https://doi.org/10.1086/595629
PENSKY, Max, 2004. “Method and time: Benjamin’s dialectical images”, en FERRIS, David S. (ed.), The Cambridge Companion to Walter Benjamin, Cambridge: Cambridge University Press, pp. 177-198. https://doi.org/10.1017/CCOL0521793297.010
PINILLA BURGOS, Ricardo, 2010. “Memoria y sensibilidad en Walter Benjamin”, Bajo la Palabra, Revista de Filosofía, no. 5, pp. 69-78.
PINOTTI, Luciana, 2015. “La animación no ficcional Un análisis sobre la construcción del sentido en el documental animado Vals con Bashir”, Cine Documental, no. 12, pp. 142-168.
RANCIÈRE, Jacques, 2011. El destino de las imágenes, Pontevedra: Politopías.
ROE, Annnabelle H., 2009. Animating Documentary, Los Ángeles: University of Southern California.
ROE, Annnabelle H., 2013. Animated Documentary, Nueva York: Palgrave Macmillan. https://doi.org/10.1057/9781137017468
ROXBOROUGH, Scott, 2021. “Making of ‘Flee’: How the Animated Doc Vividly Re-creates One Man’s Harrowing Refugee Story” , The Hollywood Reporter, 9 de diciembre de 2021 (https://www.hollywoodreporter.com/movies/movie-features/making-of-flee-animated-doc-refugee-story-1235059602/ [acceso: mayo, 2022]).
SHAFFER, Marshall, 2021. “Interview: Jonas Poher Rasmussen on Animating Authenticity in Flee”, Slant, 3 de diciembre de 2021 (https://www.slantmagazine.com/film/jonas-poher-rasmussen-interview-flee/ [acceso: mayo, 2022]).
SKOLLER, Jeffrey, 2011. “Introduction to the Special Issue Making It (Un)real: Contemporary Theories and Practices in Documentary Animation”, Animation, vol. 6, no. 3, pp. 207-214. https://doi.org/10.1177/1746847711422496
STEINFELD, Jemimah, 2022. “Amin’s awful story is much more tan popcorn for the eyes”, Index on Censorship, vol. 51, no. 1, pp. 128-129. https://doi.org/10.1177/03064220221084565
TODOROV, Tzvetan, 2000. Los abusos de la memoria, Barcelona: Paidós.
WARD, Paul, 2005. Documentary: The Margins of Reality, Londres: Wallflower.
[-]