These contemporary images of Marjane are the only moments of colour,

The abstractional nature of animation lends these scenes a universal quality, offering oblique images that broader audiences can relate to or empathise with.

questions are often raised about how these events are to be represented, who is ‘enti-tled’ to represent them, and whether they should be repre-sented at all.

In other words, trauma is estab-lished through a relationship between two events: a first event, which at the time doesnot seem to be traumatic, because when it occurs it is still too soon to comprehend itsfull significance; and a second event that may not be inherently traumatic in itself butthat triggers a memory of the earlier event, which is only then filled with traumaticsignificance

three days

“Memory is constantly onour lips,” Nora claims, “because it no longer exists”.11In analysing why memory “nolonger exists,” Nora describes a number of stages of loss. He begins with “primitive”or “archaic” societies, whose memories were “real” and through which values weretransmitted from one generation to the next. T

The filmsWa l t z w i t h B a s h i r,Wa s t e d,BeaufortandLebanon7are less concerned with thehistory of the First Lebanon War, and more with the private and subjective experiences andmemories of the soldiers who fought in it.

Unlike the mothers of the first Intifada w~o protected and sustained children and young men as they fought Israeli soldiers before their eyes, Umm Khaled is absent, unaware of what is unfolding.

Paradise Now_, on the other hand, uses a planned suicide bombing to explore not the nature of Palestinian sumud but rather the division and sterility that characterize post-Intifada Palestinian society.

Although David’s desire for “affirmation of his own beliefs” leads him to take footage, this very desire directly affects the footage itself, ironically nullifying his reasons for filming.

Here, Jesse is consciously altering his verb tenses to satisfy the future viewer, which he assumes will be the family. They are using the video as a tool for remembering everything as they want it to be; all of what they do and say at the time purposely tailor this memory.

The two n1en are now standing, in contrast to their position in the previous scene, but it is Lawrence who ren1a.ins stationary throughout, almost like a passive receptacle, \vhile the prince is active, tnoving to and fro, exerting a subtle psychological pressure upon the young English-nlan. '

More usually, however, heroic status is attributed to the voy-ager (often a n1ale scientist) cotne to master a new land and its treasures, the value of which the "primitive'' residents had been unaware.

Her article n1akes the valuable point that "the critique of colonialism within cinema studies ... has tended to downplay the significance of d . "' 10 I ·11 k f h. . . . . h h I gen er Issues: w1. rna e use o t IS crittcism 1n t. e next c apter .. n