Waltz+with+Bashir+-+Group+1A


 * __Waltz With Bashir – Group 1A__**
 * __Rebecca Farrell__**


 * Paul Ward argues that animation has been used in documentary as a mode of expression for a long time.**
 * “Animation has long been used in informational and educational films that can clearly be included as part of the documentary category.”**

During the First World War, there were the Kineto War Map series of films that used animated map sequences to show the progress of war. There was also a strong association between animated films and propaganda during this time.


 * “Engaging with animated documentary demonstrates clearly how documentary can be the realm of subjectivity, fantasy, and non-normative approaches to understanding the world around us.”**

Animated documentary helps to break the mould and we are able to experience a perspective that we wouldn’t see in a non-animated film.


 * Objective reality is an illusion. Vertov’s invisible camera only creates an illusion of reality.**

Even though Vertov tries to make documentaries that are as realistic as possible they will never be entirely realistic.


 * Nichols**


 * Degree of Knowledge** – the film maker (Ari Folman) has a high degree of knowledge when making the film, as it is from his own memories. This allows him to engage with the viewer by using the animation to recreate events and show visions, which he would not be able to do in a non-animated documentary. He does this in order to show the viewer the horror of war.


 * Subjectivity** – Youtube video. Shows how his visions have been translated to animation. The viewer is subjected to the emotional traumas and horror of the Lebanon war. Ward believes that subjects such as mental health are best viewed in animation form, as it enables the viewer to visually see what goes on in a person’s psyche.

Communicativeness – The film maker holds back information at the beginning of the film, because he can’t remember, but then later tells the viewer his experiences. The narrative of the film allows the viewer to take a journey with the film.
 * Self-consciousness** – By the end of the film the viewer feels that they have learnt something from the film. In this case the truth about the horrors of war and peoples experiences of it.


 * Perspective Vs Commentary** – The perspective we are shown is from Ari Folman’s point of view, as well as other soldiers that fought in the war. The depiction of which is through their own memories portrayed in the animation. For example, the insanity of war is shown through the soldier that dances the waltz amidst heavy enemy fire. The commentary is shown when the psychologist comments on the effect war can have on soldiers.


 * Brian Winston’s Reconstruction Continuum** – More imaginative, as it is a re-enactment.

Maureen Furness like Brian Winston focuses on a continuum. At one end of scale is mimesis and at the other is abstraction Waltz with Bashir shows elements of both ends of the scale, this is an example of mimesis Play clip.... part 5 of 9 3:35 This is mimesis because it is in the form of an interview which also take place in live action films to represent reality. Also we know that the voice-overs are real as all of the voices used in the film are the real people who the characters represent. Play clip..... part 2 of 9 8:20 This clip on the other hand could be an example of abstracted reality as the audience doesn’t know if this is an entirely truthful recollection. Paul Wells has a series of modes like Bill Nichols’ but which apply directly to animated documentary. These are; The imitative The subjective The fantastic And the post-modern We think that out of these, Waltz with Bashir conforms to the imitative mode, offering a realistic imitation of reality as it is solely based on the filmmaker’s quest to regain his memory of the Lebonam war. It can’t be subjective as I mentioned before the voice-overs are the voices of the real people who this film is based on. Also most of the images we see contain no elements of surrealism but are an authentic representation on reality. John Grierson argues that documentaries should be realistic and should serve a socio-political purpose linking it to propaganda. Waltz with Bashir could somewhat be seen as a propaganda film as one of its purposes is to raise awareness of the massacres and also attempts to persuade the audience into thinking that the Israeli Defence Forces tried to put an end to it showing them in a positive light. Grierson also argues that a documentary should be dramatic. Waltz with Bashir is very dramatic in how it uses dark images combined with music with meaningful lyrics to make an emotional connection between the audience and the film. This combination also makes us sympathise with the soldiers again makes us see them them in a good light. The scene which shows most elements of propaganda and drama is the very last scene where real life footage is used. This engages the audience and further emphasises the amount of pain caused by the massacre but also reinforces the idea of the IDF not being responsible for the massacre.