The name is absent

veracity of the content, and the formality of the production that we
perceive, that is to say how a work achieves the representation of the world,
the appearance. The differentiation of both aspects can be a complicated and
ambitious act as they are intrinsically linked, but we need new tools, a
reinvented position in front of the screen to filter and analyze events in
which, thanks to technological visual developments, unreality can simulate
reality and reality can be presented as fiction.

One of the visual technologies that has most efficiently confused the
perception of reality and unreality is Rotoscope. Rotoscope is the process of
drawing over the lens generated image, and the result is a (con)fusion of the
animation and lens generated image. Though invented in 1915, the Rotoscope
has gained increasing relevance in recent years with the incorporation of
digital techniques and its use by Richard Linklater in his films Waking Life and
A Scanner Darkly (2006). The technological hybridization of real images with
animation and, simultaneously, digital and analogical techniques, creates a
feeling of confusion in the audience, of not being able to identify the
reality/unreality of the footage. This visual confusion produces a film that
most likely unfolds entirely in the mind of the spectator who is constantly
questioning the images that he perceives. As a result, Linklater integrates
two films in one: a real one and an artificially generated one. Linklater uses
technological devices to connect the form of the film with its content and to
facilitate the spectators in the immersion in the plot with the visual
aesthetics displayed. In this sense, Waking Life captures the twisted illogic of
a dreaming state, being visually incoherent. A Scanner Darkly, a film based
on Philip K. Dick’s 1977 novel of the same name, is more consistent in the use
of Rotoscope techniques: the images become regularly irregular, but the film
incorporates a story of paranoia and hallucination, of confusion, that is
visually reinforced by rotoscoping the image. The reaction to rotoscoping and
other technologically generated imagery in the spectators is explained by
neuroscientists with respect to the way our brain responds differently to real
images and cartoons. Animation has a special ability to be perceived and
processed into ideas by our brain as it produces more activity in the area
called the bilateral orbitofrontal cortex, which responds to rewarding stimuli

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