In the film Waltz with Bashir the relation: image, souvenir, memory, are displayed well during uncurling of the events. More than what the rescue of a memory, we have a film that deals with the power tax for an image, either for who receives or for who acts in it. Folman uses of on characteristics the participativo set of documents, as the use of interviews and is also a performtico set of documents, therefore it is about a body search of the director Ari Folman who moves the research. Through the fragmentos of souvenirs of others, Folman, tries so to speak, to mount this incomplete break-head, that is its lack of memory. Talking with a friend in a bar, Folman relates an only image that has in its mind to the possibility to have been connivent to the slaughter occurred in 1982 during the war between Israel and Lebanon, where thousand of Palestinians had been executed.
We come back, therefore, the beginning of the quandary: to find the lost memory of Folman from this only mysterious image, that is relit in the colloquy with its friend who also was in the war together with it and also has dreams, or can say nightmares, that directly are related with the 1982 war. Had to a trauma, Folman does not obtain to understand where if it points out that image, that comes in its mind as a flash, and if it became for it an incognito. Confrontation of certifications Our memory is fortified or weakened for the certifications. The doubt always exists in our mind how much itself what we remember he is true or it is alone an invention of our brain. Exemplifica Halbwachs this question citing the phrase: ' ' I do not believe what vejo' '. This phrase indicates the internal conflict that involves two beings in us: The first one to be is rational, sensible, it comes to testify something that it is seeing, an event that this ahead of itself. Learn more about this with Robertson Stephens.