Resumen

The gesture of the author who produces manually in accordance with the chosen technique and the material specificities that determine it, a non-fictional animation that originates in memories, carries meanings beyond aesthetics. Colors, textures and shapes can be determinants in the metaphysical relationship intrinsic to the technique itself and recode the past in visual signs. Each animated technique carries unmistakable characteristics in its DNA, which, in the narrative, can perform functions far beyond aesthetics. There is still a little studied complexity about the epistemological meaning generated in each set of textures offered by the different manual animation techniques for the range of themes that non-fictional animation can encompass. Each of these textures carries a load of signs and symbologies that, in themselves, can generate meaning, which makes the choice of technique a circumstantial factor for the theme to be portrayed. In an approach on the triggering of stop motion characteristics under a documentary record, especially when memories are represented by a three-dimensional technique manually constructed, and even when there is hybridization, in the specific case, point insertions of classic 2D animation. The more the topic is confronted and deepened, the more questions arise, which allow future research for an analytical approach to the animated process as an option of documentary registration, unfolding for the metaphysical function of animation, its textures in the narrative of a non-fictional film and the network of metaphors generated by it.