Something occurred to me when watching the a film called Waltz with Bashir that I saw in documentary studies. It got me thinking about the last obstruction I discussed from the five obstructions, the animated rotoscope rendition. Waltz with Bashir is also almost entirely made using a similar form of rotoscope animation, It is clear that that during the production of Waltz with Bashir the filmmaker has filmed particular scenes first before having them animated. The animation in Waltz with Bashir is not an obstruction, but rather a stylistic preference and a powerful one at that as it acts to strengthen meaning and thematics in the film. The fourth obstruction is not a stylistic preference, Leth uses rotoscope animation bring new reinterpreted meaning to his short The Perfect Human.

The difference is between the obstruction and the style choice is then in the motivation, one forced, one by choice. The result however is remarkably similar by using animation each filmmaker respectively creates a new meaning or interpretation that complements the original narrative.

Does that mean then that part of ‘successfully’ using an obstruction is to incorporate it in a way that creates/complements a deeper meaning of the text? I’m not entirely sure yet, but I think it is one aspect worth investigating in this project.