Animation and live-action are two closely related media, which are foremost distinguished by the ideas and conventions surrounding them. The diverging discourses around animation and live action have tended to focus on animation as something constructed to represent characters and settings and on live action as something capturing actors and sets representing characters and settings. This difference between constructing and capturing, along with the perceived indexicality of the photo, is what seems to suggest live action as the preferred medium for documenting real events. Sound effects, in the form of recorded and edited sounds of objects, actions and environments, are of particular interest here, as they can be considered to balance somewhere between these poles of construction and capture, between the non-indexical and indexical, and ultimately between representation and reproduction. In this article, I will focus on aspects of ‘truth’ (understood as corresponding to some external reality) and ‘realism’ (understood as a representation of external reality) and how something comes to be perceived as truthful or realistic in animated documentaries in relation to the role played by sound effects. By discussing the Danish film Flugt [Flee], I will show how sound effects can aid in creating representations of truth.

动画和真人秀是两种密切相关的媒体，它们的主要区别在于围绕它们的想法和惯例。关于动画和真人实景的不同讨论倾向于将动画视为代表角色和场景的东西，而将真人行动视为捕获代表角色和场景的演员和布景的东西。构建和捕捉之间的这种差异，以及照片的感知索引性，似乎表明实景拍摄是记录真实事件的首选媒介。声音效果，以录制和编辑的物体、动作和环境的声音的形式，在这里特别令人感兴趣，因为它们可以被认为是在构造和捕获的这些极点之间、非索引和索引之间、以及最终的平衡之间的某种平衡。再现与再现之间。在本文中，我将重点讨论“真实”（理解为与某些外部现实相对应）和“现实主义”（理解为外部现实的表示）的各个方面，以及动画纪录片中的某些事物如何被视为真实或现实。与声音效果所扮演的角色有关。通过讨论丹麦电影Flugt [逃离]，我将展示声音效果如何帮助创造真相的表现。