Film Analysis Waltz With Bashir - 2037 Words

Presented in an engaging and intensely graphic visual style, Waltz with Bashir uses the medium of fluid animation to present layers of history and effectively communicate concepts surrounding how we deal with trauma. Often referencing traumatic events that which current society did not encounter directly themselves, Waltz with Bashir triumphs in the struggle against ethical and visual implications of animated form, evoking a strong emotional response in its visual style. A vector based, frame by frame animation technique was used to present a re-enactment of the events that took place; referencing live-action footage as visual reference for the stand-alone animation process. The opening scene of the film sets up the dramatic visual style; as the camera tracks along, rabid dogs run loose on the streets of Beirut. Initially just one dog running towards the camera, eyes wide and vicious, swiftly multiplies into a pack of dogs, snarling and drooling; tearing through the highly stylised w ar-torn streets. This dramatized, surrealist scene we later find is actually a visual interpretation of a nightmare that Folman’s friend Boaz has connected to his experiences from the war in Lebanon. Typically a convention used in narrative film, Folman’s process removes us from the reality in the film because of its surrealist animated form and we become lost in the spectacle of animation. This allows the feature’s concepts to be depicted in a more objective way; albeit the subjective nature ofShow MoreRelatedAnalysis Of The Film Waltz With Bashir 1559 Words   |  7 Pageswith. The personality of Israelis and Palestinians has affected their vulnerability to certain situations following the 2009 Gaza Conflict. They have faced distressing repercussions from war such as posttraumatic stress disorder. In the film, Waltz with Bashir, a young man struggles with reoccurring dreams that stemmed from his time as a solider in the 1982 Lebanon War. Just like any in dividual on this earth, Israelis and Palestinians face social anxiety and battle with insecurities every day fromRead MoreMemories And The Formation Of Reality1666 Words   |  7 Pagesdoes the use of imagination and memories stop? By examining memory represented in animation and film, through Bartlett’s theory of schema, we can see how the film develops an active organized method to distinguish reality from memory. This paper examines five films based on memory, thus arguing that imagination does not distort memory in animation, but create a role as a form of embellishment for the film to help memory. Fredrick Bartlett is a British psychologist from Cambridge University, basedRead MoreMemories And The Formation Of Reality1688 Words   |  7 PagesIn film, flashbacks are interruptions that take the narrative back in time from the current point in the story. They are often used to provide background and context to recount current events of a narrative filling in crucial backstories. In its basic form, the flashback is introduced when a presented image dissolves to another image of the past, which can be either as â€Å"a story-being-told or a subjective memory.† (Turim, pg. 1) For example, dream sequences and memories are methods used to presentRead More An Investigation into the Portrayal or Truth Within the Documentary Genre1896 Words   |  8 PagesControl Room, 2004. [Film] Directed by Jehane Noujaim. Iraq: World Cinema ltd. A documentary filmed in 2003, following the aftermath of George Bush’s announcement of the USA’s planned â€Å"liberation† of Iraq. This Documentary has the unique viewpoint of coming solely from Al-Jazeera’s perspective, showing the reports made and broadcast by the Baghdad base offices. It shows an interesting perception of the war which strongly juxtaposes the western media’s portrayal of the conflict. The film opens with the