This article explores how animation provides various possibilities of representing trauma,using a textual analysis of the film waltz with bashir (Ari Folman, 2008). The ontological qualitiesof animation films make them suitable for the representation of traumatic recollections,also considered to be traumatic re-experiences of what were firstly visual experiences. Thefocus of this article is the way in which animation not only represents the traumatic events butalso addresses the problematic mechanisms that underlie the elusiveness of trauma.

Additional Metadata
Publisher Netherlands Institute for Sound and Vision
Persistent URL dx.doi.org/10.18146/tmg.414
Journal Tijdschrift voor Mediageschiedenis
Rights Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
Note TMG Journal for Media History; Vol 15, No 1 (2012): Animatie; 43-62
Citation
Soewargana, Sarie. (2012). Traumatisch verleden ge(re)animeerd: Het gebruik van animatie in documentairefilm voor de representatie van traumatische herinnering1. Tijdschrift voor Mediageschiedenis, 15(1), 43–62. doi:10.18146/tmg.414