Fight club novel flashback examples12/9/2023 ![]() ![]() Each film is in one way or the other related to these notions, which form its basic grammar.Ĭonference paper for 'Journeys Across Media' conference 2014: ‘Memory and Imagination’, University of Reading,Department of Film, Theatre and Television, 25th April 2014 ABSTRACT: In 1970, anthropologist Roger Bastide wrote of the chorus of voices that address the issue of memories about the past. This notion brings us then closer to the realm of culture since identity acquires its relevance in relation to difference. In the midst of a time-space continuum or construct, which is inhabited by memory, the notion of identity is formed. This makes the work of film archives especially demanding and ethically accountable. Nevertheless, due to all circumstances, memory as it is “materialised” in film, is unavoidably constructed. ![]() However because they are multiplying levels of reality in a sense, memory therefore becomes open to manipulation. It seems that especially film and other forms of audiovisual presentation, in a sense, “objectify” memory. However, through the accumulation of ways of audiovisual recordings, no matter what kind of objects we can think of, a memory, which is “stored” in various media (photographs, films, tapes, disks, etc.), becomes more complex as it is becoming increasingly inaccessible in its totality. So, there is almost no doubt that such a record represents a powerful means of verification of memory in almost any respect: historically, collectively, and even individually or psychologically. This gives way to an implication of a simplicity of any (audio)visual narrative form. The mechanical aspect of producing a photograph, a film and other visual or audio-visual representations, contributes to the impression of a special “objectivity” of any “documented” look through the lens of a camera. Unlike written records or different works of art – including architecture – these “means” of representation simultaneously reduce and enlarge the impact of subjectivity on a product, which makes a representation possible. This paper was presented at FIAF simposium in 2005, and published in the proceedings (How do we Visualize Culture?) The complexity of meanings regarding the notion of memory has become more complicated and simpler at the same time, as when first photography and then film entered human history.
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