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This paper examines two art animations of Japanese Canadian artist Cindy Mochizuki, The Oblivion and The Blind and Shiro Yagi, as typical postmodern autoethnographies. A Japanese Canadian subject of memory which the artist sets up in these works manifests a perspective of inherent others which has been internalized as a result of the history and reality of Canadian society. The subject recalls Japan’s past through its roots, but this perspective of inherent others disturbs the correspondence of the representations of memories to the represented and gives rise to noises in the expressed memories. The subject responds through these noises to the one and same call of its ethnicity from the past of Japan. From the methodological point of view of its expressions, Shiro Yagi is characterized by its unique use of rotoscope. In this case, the photographic images which are rotoscoped are regarded as documents through which the past of the photographed people call, and the rotoscopes are responses to this call, thus they are memories. But the movement of the animated rotoscopes or of the cutout pictures of them is very primitive and disturbs the representation of the natural movement. Thus rotoscoping of this work functions as visual noises in the memories and so expresses the inherent others.