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Abstract：
This article provides an analysis of representational issues associated with interview-based animated documentary productions directed by non-autistic filmmakers, attempting to represent one or more autistic participants. The article draws insights from three case studies: A Is for Autism (Webb 1992), An Alien in the Playground (Glynne 2009) and the author\'s own practice-based research film, Drawing on Autism (Widdowson 2021). Drawing insights from psychoanalysis, film theory and ethnography, the article will examine animated documentary practice in terms of the risks of Othering participants, look for evidence of the filmmaker\'s unconscious bias and consider how the cinematic gaze can be used to decode ideological systems that informed their construction. From this analysis, the author reaches the conclusion that the properties of documentaries, that rely on animation rather than live-action cinematography, present a specific set of ethical responsibilities that skew towards issues of representation.
摘要：
本文分析了与非自闭症电影制片人导演的基于采访的动画纪录片制作相关的代表性问题，试图代表一个或多个自闭症参与者。这篇文章从三个案例研究中汲取了启示：自闭症(Webb1992)，《游乐场中的外星人》（Glynne2009）和作者自己的基于实践的研究电影，自闭症（Widdowson2021）。从精神分析中汲取见解，电影理论和人种学，本文将从其他参与者的风险角度研究动画纪录片的实践，寻找电影制片人无意识偏见的证据，并考虑如何使用电影凝视来解码为其建构提供信息的意识形态系统。从这个分析,作者得出的结论是，纪录片的属性，依赖于动画而不是实景摄影，提出一套具体的道德责任，这些责任偏向于代表问题。
