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The book “Waltz with Bashir” is a decisively structured piece of work. It has a rational setting and the scenes are very pragmatic in the context of what is disturbing Ari in form of nightmares. In this work thematic concerns are outright and the usage of nightmares with 26 vicious dogs is far much imagery. This work is an exceptional piece of work. According to Polonsky & Folman (2010, Pp. 12-18), in the book “Waltz with Bashir”, the setting is a one night at a bar.  In another work by Tim O’Brien the setting is in a war tone locale. This is an instance where an old friend dies tell the director; Ari about a nightmare that was recurring in which he had visionaries of him being chased by about 26 vicious dogs. According to his narration each and every night these same number of beasts would show up and start running after him. The narrator and the director at the fall of the curtain make a conclusion that there is a connection between the nightmare and their 1980s early Lebanon war Israel Army mission.       Similar to the Tim Obrien’s " how to tell a war story”, the narrator does depict a case of horror and flabbergasting experiences with a logical genre when he and his departed friend with fellow army mates were in the battlefield. In a letter that he addressed to the sister of the departed friend, he does manage to give her his accounts of the last time that he remembers regarding how his brother met his death. The argument is that one day his brother seemed to have forgotten that they were in a war front and with a mate they started playing with “smoke grenades” as if they were on a picnic. Such context is a proof of the victims failure to adhere to the culture and the social aspects of the army personalities. “They could remove the pin and wait for the grenade to blow and leave them covered in smoke laughing,” this is satirical in a war front but a “sudden nor the ordinary sound” in the course of the play was an alarm to the death of her brother as Rat explained. The setting of both the Tim Obrien’s “how to tell a war story” and “Waltz with Bashir” is war like. The combat scenes are giving room for freedom and as opposed to what the Israel army mission had in Lebanon. This in both scripts is substantial to justification of the soldier’s reaction to the civilians and the respective circumstances that do surround them in war.  

The pictorial representation of war surroundings is similar in all aspects in both scripts. The “Lemon tree” is able to give the memorial picture of what takes place in a war front and the likely to be the picture after the calming of the situation. The impression is similar to the shackles shown in the pictures of the war scenes and combat setting and cries of the civilians implied by the pictorial representation of the war tone area. For instance, a picture of an Iraqi girl with a bullet would be treated by Steve Mumford is a grotesque outlining of the ground situation. The war pictorials are essential and critical to the realization of the scripts and the combat operations in the war front.

In “Waltz with Bashir,” Ari is surprised that he is not able to remember anything anymore relating to his life in Lebanon in early eighties in the Israel army mission. It is due to this fact that Ari was intrigued to meet and interview his old friends and fellow comrades to really ascertain the happenings in his life. Ari had to travel around the world and get his friends share what they have regarding their mission into Lebanon and what could have taken place. He had completely lost the picture of what took place resulting to his nightmares. In contrast, from Tim Obrien’s “how to tell a war story,” the narrator is able to really narrate in a letter to the victims sister all the happenings in prose. He can remember all that resulted to the death of his comrade and a friend he confesses that he “loved” much. He says ‘the guy was his best friend in the world; they were like soul mates and twins, or something.’ Rat tells the sister that “the guy was a little crazy, for sure” meaning he had the precise picture of his ordain in life “but crazy in a good way, a real daredevil.” The scenes here are able to justify that Rat in Tim Obrien’s “how to tell a war story” was able to make a recount of all that took place against the narrator In “Waltz with Bashir.”

In Tim Obrien’s “how to tell a war story,” the narrator argues out that ‘you can tell a story if it does embarrass you” because “if you don’t care for obscenity, you don’t care for the truth,” (O’Brien, 1990, Pp. 2). This is similar to what is depicted in “Waltz with Bashir.” This is because Ari does not hide his embarrassment of the nightmares; he instead opts to take a world tour towards the search of truth in his life as an Israel army man during their Lebanon mission in early eighties. Thus the two scripts are similar in this point of view.

Basing on the above discussions, it can be deduced that the two texts “Waltz with Bashir” and Tim Obrien’s “how to tell a war story,” are related in some way and varied in another. Similarities are ramparting same as differences in context, setting and the circumstances surrounding the scenes.

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