"Flectere si nequeo superos, Acheronta movebo"

Flectere si nequeo superos, Acheronta movebo : "If I cannot bend the Higher Powers, I will move the Infernal Regions"



"On the one hand, the defamiliarization of animation allows you initially to take some distance from the story. But at some point (I think it has to do with the way that the brain visually assimilates information) the filter or the rational distancing fell by the wayside. I felt like it was almost directly accessing a part of the brain, because after all, the brain, through evolution, processes visual images first in a primal way and then the images go up to the language center, which is actually a much smaller part of our brain.

"Watching 'Waltz With Bashir," you almost got into some primal, visual — I am going to call it — the truth center. So I found the film much more disturbing and harder to understand in a kind of removed, intellectual way, than if it had been a straight frame that I am more familiar with, which is documentary film or Hollywood war blockbusters. I think that is why it came back into our nightmares.

"We all know what Marx said about the unconsciousness of the past: that it weighs on us like a nightmare. That somehow triggered all kinds of past memories about war in my own family history. So I think it was remarkable how the film was able to achieve that kind of new channeling of a part of the brain that is not normally a part of film watching, film spectating."

James Der Derian in Open Source conversation with David Polonsky at the Watson Institute, April 15, 2009.

“Waltz with Bashir”: the Art Director’s Cut at War