![]() ![]() As Kamran Rastegar points out in his work on the film, this allows for less-representational and more imaginative representations of memory and trauma’s effects on memory while maintaining “a legitimizing link to conventional documentary as rooted in testimony and actuality” (64).īoth these documentary and more imaginative modes are used to depict the psychological aftermath of the war for IDF soldiers, including the piecing together of lost memories of the war. ![]() Waltz with Bashir has been described as an animated documentary or “documentary-animation” in which “animated footage based on realistic documentary materials (such as interviews) is combined with imaginative animation, giving the film an overall texture of animation while including ‘authentic’ interview materials” (Rastegar 64). Shaping the film’s exploration of perpetrator trauma is its formal innovation. The film is semi-autobiographical, and centers around Folman’s search to recover lost memories of parts of his time as an IDF (Israeli) soldier during the Israeli invasion of Lebanon from 1982-1984, of which his recollection is clouded by trauma. ![]() Waltz with Bashir.Īri Folman’s 2008 animated, Hebrew-language documentary Waltz with Bashir has been cited (Morag) as exemplary of perpetrator trauma in cinema. Keywords: complicity, Israel/Palestine, memory, trauma, and violence. Posted on 1 March 2021 by Susanne Knittel ![]()
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