For the viewer, such a perspective appropriated from an interactive medium, results in a feeling of powerlessness and disorientation, given that we have agency in a videogame, via the joystick, which is lacking in the film. The film has won numerous awards, was nominated for an Oscar and a BAFTA, and received nearly a half-hour-long standing ovation when it opened at Cannes.
The critical response has been, for the most part, overwhelmingly positive. Reviewers praise both its technical advances and its candor in treating a difficult subject. Complaints tend toward acknowledging that, although the film is a step in the right direction in its criticism of war in general, and of the war in Lebanon in particular, it is overly self-indulgent, and too focused on the existential pains of the invaders, rather than on the horrors endured by the Palestinian refugees at Sabra and Shatila then and, by inference, today, in Gaza and the West Bank.
He also produced the original Israeli version of the hit U.
HBO series In Treatment. In an interview with Cineuropa , Roiy Nitzan, the visual effects supervisor, stated that the film was shot on a soundstage from a ninety page script, and that the whole movie was then reconstructed or animated from the resulting footage. He points out, as well, that every bit of the film was newly animated, and that contrary to some reports, nothing was rotoscoped or drawn over.
In its latent use of specific pop culture moments in Cold War-era history, Waltz With Bashir critiques the war in Lebanon, and comments on the fluidity of memory, and, in doing so, it achieves much more in the way of universality. Scott both wonders and explains in The New York Times :. Why did Mr. Folman, who has worked on more conventional documentaries in the past, decide to use animation in this one?
The Music of War
The answer to the question is another question: How else could he have recorded dreams, hallucinations and distorted memories, his own and those of other veterans? Folman to blend grimly literal images with surreal flights of fantasy, humor and horror. Because it is, after all, a cartoon, Waltz With Bashir also derives rhetorical currency from the degree to which it troubles our expectations of genre.
As a filmgoing culture, our relationship to the animated movie is like our relationship to recess and peanut butter and jelly sandwiches. Our hard-wired inference is innocence. Scholars have posited, as well, that the fantastic and surreal qualities of the film are best explained generally as trauma, rather than explored and explicated in-depth. Raz Yosef, who writes eloquently about both Beaufort and Waltz With Bashir in related essays, suggests that the films explore the traumatic rupture between history and memory, and reflect a nostalgic longing for a lost, or repressed, national history, and preserve.
This detachment from the national collective memory draws the film into a world signified by the constant blurring of historical context, as well as by private and subjective images, a timeless world of dreams, hallucinations and fantasies. Folman asserts that war is bad, and that kids, the world over, would be better served by sex, drugs and rock and roll.
Analyzing Protest Songs of the 1960s
This point may seem obvious, but the mechanism through which Folman explores it is worth unpacking. Ultimately, this mode of inquiry reduces the text to binaries regarding a dominant or state history and a subversive counter-narrative. Instead, Waltz With Bashir engages in second order subversion by enabling a composite narrative resistant to such binaries.
The film employs an instrumental score by Max Richter, original ballads, recognizable, mostly contemporaneous, pop songs, anachronistic covers of pop songs, and, appropriately, some classical waltzes.
As he notes in an interview with Cineaste , Folman had little interest in, or knowledge of, the eighties pop music that fills the film, and the choice of masterful pop songs was the work of his editor, Nili Feller. In Hearing Film , a study of how pre-existing pop music functions in film, as opposed to composed scores or traditional soundtracks, Anahid Kassabian, differentiates between composed including songs with lyrics or instrumental music written specifically for the film and compiled employing pre-existing popular songs scores.
Kassabian charts the proliferation of compiled scores since the eighties, and notes that compiled scores. Perception is fluid and cannot as easily be universalized. In this distinction, Kassabian points to an inherent flaw in most spectatorial theory, and dispatches with it, by presenting the notion that compiled scores, with their affiliating modes of identification, open up other narrative threads in the film that the perceiver is free to follow, or not.
A new film form in which narrative is not primary, but equal, if not subordinate, to the sensory experiences of sight and sound.
click here Waltz With Bashir employs music to pull the reader into the action of the scenes, however nonsensical, and to trouble notions of historicity and temporal reality. Like Herr and Winterbottom, as Folman alludes to other texts about war, musical or otherwise, he invites the spectator to read multiple narrative threads at once, and to consider the war in Lebanon in tandem with other twentieth-century conflicts. Paradoxically, while the music anchors the film in its original historical moment, or tries to, it also highlights the fact that histories, like memories, are subjective and fallible.
It feels, instead, like a post-disco discotheque. Electronic music, like animation, is the product of the very atom that destroyed the Japanese cities and ended World War II, the atom that paved the way for the transistor, the semi-conductor, and the silicon chip. Did it ever.
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Craig Werner and I discovered the power of music from a decade of interviews with hundreds of Vietnam vets. Denton Mogie in uniform, with siblings Candy and Randy, Many of the men and women we interviewed for We Gotta Get Out of This Place had never talked about their Vietnam war experience, even with their spouses and family members. And the talking helped heal some of the wounds left from the war.
When we began our interviews, we planned to organize it into a set of essays focusing on the most frequently mentioned songs, a Vietnam Vets Top 20 if you will, harkening back to the radio countdowns that so many of us grew up listening to. Still, we did find some common ground. These are the 10 most mentioned songs by the Vietnam vets we interviewed. Realizing, of course, that every soldier had their own special song that helped bring them home.
Mail call was a sacred ritual in Vietnam and this song captured its importance lyrically and musically. Just before his tragic death in a plane crash in Madison, Wis. Was Otis Redding thinking of Vietnam?
Creedence Clearwater. But even more than that, his guitar sounded like it belonged it Vietnam, reminding GIs of helicopters and machine guns, conjuring visions of hot landing zones and purple smoke grenades. He appealed to everyone. They sang along with tears in their eyes, because they were the ones saying goodbye to the men who were boarding the planes for Vietnam.
No one saw this coming.
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