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When brought together in the animated documentary, animation with its tradition of comic storytelling and gothic graphic fiction and the documentary film with its tradition of "realism" create new possibilities for understanding the relationship between spectatorship and memory. In this form memory and reality are volatile and changeable, yet believable. In the Israeli film Waltz with Bashir (dir. Ari Folman, 2008), the animated form of the bulk of the film is ultimately juxtaposed with television footage and still shots of the massacre within the Sabra and Shatila refugee camps. The film's final sequence of live footage, some of which would have appeared on most of our television screens across the world, makes of those passing seconds a death scene. As a "death scene" we see again but really for the first time the horror and the miracle of survival. The preceding animation with its intertwining flows of dreams and reality not only interrogates but enacts how memory can be seen.

Item Type:	Refereed Article
Keywords:	animation, documentary, waltz with bashir, time
Research Division:	Indigenous Studies
Research Group:	Aboriginal and Torres Strait Islander culture, language and history
Research Field:	Aboriginal and Torres Strait Islander culture
Objective Division:	Expanding Knowledge
Objective Group:	Expanding knowledge
Objective Field:	Expanding knowledge in language, communication and culture
UTAS Author:	Schlunke, K (Associate Professor Katrina Schlunke)
ID Code:	121961
Year Published:	2011
Web of Science® Times Cited:	3
Deposited By:	Office of the School of Social Sciences
Deposited On:	2017-10-23
Last Modified:	2017-11-03
Downloads:	139 View Download Statistics