My aim is to outline the major historical shift that occurred over this period both in the conceptualization of Holocaust memory in Czech(oslovak) animation and in the use of animation techniques in this context.
In this paper I discuss and compare two films that originated over fifty years apart from one another, Butterflies Do Not Live Here (Miro Bernat, 1958) and Helga L-520 (Miloš Zvěřina, 2011). Animated documentary has therefore been increasingly engaged in approaching traumatic experience(s) and exploring issues of memory, where the affective and the subjective dominates over the objective and the factual (Walden 2014, p. 106), they have also argued that animation’s non-indexical imagery enables filmmakers to capture subjective and affective qualities of experience more persuasively than live-action film (Wells 1998, pp. Film theorists such as Paul Wells, Annabelle Honess Roe and Victoria Grace Walden have reflected on documentary animation as a mode of representation which not only compensates for the shortcomings of live-action footage where the footage does not exist or where it was impossible to film the subject (Honess Roe 2013, p.
Animated documentaries narrating the stories of children who lived through the Holocaust have become an accessible form, allowing today’s children and younger generations to understand this traumatic moment in history. The production of animated films on this subject surged as a result of the form’s broad appeal across a range of ages.
Over the past twenty to thirty years, many short, mid- and feature length films have been produced, including Miloš Zvěřina’s trilogy, Orly Yadin and Sylvie Bringas’ Silence (1998), The Last Flight of Petr Ginz (2012) by Sandy Dickson and Churchill Roberts, and others. Animated documentary on the Holocaust, initially a controversial format, has become an established category.
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