Questions this year questions last year

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broader social questions. Questions this year, questions last year, responsibility, retribution, recrimination, before issues of what histories are hidden in the landscape. Often they're fairly broad questions but generally they arrive through quite a personal or particular starting point” (Moins). Each of his many short films is based on a series of some 20 to 40 charcoal drawings. The drawings were mostly in large sizes with some enhancements in pastels (Moins) In a desire for a chromatic simplicity with symbolic values, only colors, such as blue to represent water, and red, are used, glaring against the subtlety of gray. Each of Kentridge’s drawings seemed somewhat like a storyboard sketch, often filmed with no camera movements. Little by little, Kentridge modified his composition between each frame shot by erasing certain parts and re-drawing them. The charcoal technique, ephemeral and volatile, lent itself to this treatment, particularly in that faint traces remain of the imagery that has been erased. The on screen result gives a rather fragile image, all in nuances, quite in the manner of a man obsessed by the idea of traces, of reminiscences. Unconcerned with traditional animation techniques, not even filming with a true animation stand, William Kentridge was a giftedly talented, self-taught student of animation. This was a fact that reinforced the fragile, precarious side of his creations. It also permitted him to reinvent, with all sincerity, techniques
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discovered by the first animators at the beginning of this century. In this sense, animation is only a process of unveiling the act of drawing, and can become a part of a greater whole. In certain films, I can sometimes see moments of his hand or his entire body appear. He even almost acts like a stage manager,
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