One could argue that one of the greastest advantages of working with animation as a medium, is that it allows for virtually limitless creative freedom.  When working with live-action footage, the scope of what is achievable is considerably smaller, limited by both budget, and what is physically possible.

As seen in films such as Waltz with Bashir (Ari Folman, 2008), the use of animation allows for the film-maker to effectively blur the lines of reality, allowing the film to give way to an incredibly expressionistic style, that can convey the an issue that the film is trying to discusss in a far stronger manner.

Waltz with Bashir frequently blurs the lines between what is fact and fiction, providing the audience with extremely surreal or dreamlike sequences. The sheer versatility of animation allowed Folman to describe the events of the Lebanon Conflict in an extremely eloquent, emotive manner. The majority of the film revolves around Folman trying to regain his memory of the conflict – an apsect which is reflected extremely well by the dream-like manner of the film, which in itself, almost resembles a half-forgotten memory.

One scene that stands out in particular, is the scene where Folman describes his first night in the conflict, which takes place on a boat. The scene, starting off relatively “normal”, slowly becomes more confused – dream-esqe – ending in Folman riding atop a giant nude woman, away from the boat.

One thing in particular that is highlighted by this film is that animation does not take away from the serious nature of a film – rather more so, it gives the film maker an unparalleled level of freedom within a film, that can be used to better express the matter at hand, that he or she should wish to discuss.


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