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Victoria Grace Walden – Animation : Textural Difference and the Materiality of Holocaust Memory

1 The notion of " Holocaust animation " may seem paradoxical; how can a medium which, in the popular eye, is usually associated with comedy, play and fantasy be used to remember one of the 20 th century's most traumatic events? By examining the textural difference of animation to our lived world in texts such as Silence (Yadin and Bringas 1998) and I was a Child of Holocaust Survivors (Ann Marie Fleming 2010), it becomes clear how the medium can emphasise the fragile materiality of Holocaust memory. Adopting a methodology which blends transcendental phenomenology, as first outlined by Edmund Husserl, and existential phenomenology, brought into film studies in particular by Vivian Sobchack and Laura U. Marks, this paper considers the ability for animation to engage spectators with the materiality of memory, through bringing to the foreground a different way of experiencing the world to the quotidian. Jennifer Barker (2009) suggests the usefulness in adopting a " textural " rather than solely " textual " film analysis (p. 25). She highlights that a turn to the materiality of films and animations can offer new readings of such works. In exploring the materiality of memory in the animated form, this paper introduces new terms which are helpful to such a discussion. Fullness is here forth used to describe the amount of content on the scene – the density of the animated materiality. For example, sequences which have a detailed background with characters whose costumes are detailed and elaborate might be considered to exhibit an extreme fullness, or be a dense image. In contrast, sequences wherein characters have no facial features, or, are merely an outline against a bland background with little detail, are considered to lack fullness, and thus have little density in terms of their materiality. Another term introduced in this work is the idea ofsketchedness, which refers to the type of line used in the animations. A sequence which exhibits rough, sketched outlines (suggesting a hand-drawn quality) of objects and characters is considered to exhibit sketchedness, while one with firm outlines (perhaps suggesting a nod towards more realist styles of film-making) evidences less sketchedness. A lack of density and extreme sketchedness might suggest to the spectator incompleteness in the image because it starkly contrasts their perception of the lived-world, where the horizon exhibits fullness in terms of its range of colour and detail, and outlines of people and objects appear …