By Isabelle McNeill

An essential rethinking of reminiscence and the relocating picture for the electronic age, Isabelle McNeill investigates the position of the relocating photo in cultural reminiscence, contemplating the influence of electronic applied sciences on visible tradition. Drawing on an interdisciplinary variety of theoretical assets and an strange physique of flicks and relocating snapshot works, the writer examines the ways that fresh French filmmaking conceptualises either the earlier and the workings of reminiscence. eventually the writer argues that reminiscence is an intersubjective approach, within which filmic kinds proceed to play a very important position while new media come to dominate our modern event.

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Extra resources for Memory and the Moving Image: French Film in the Digital Era

Sample text

That which is written on the skin is strongly felt to be outside me; in fact it marks the very limits of the self. But whilst words on parchment remain two-dimensional signs, images recorded on film give the illusion of three-dimensionality. Indeed, any sense of the screen surface might be said to be overpowered by the sense of depth conveyed. It is this, and the impression of movement, which make film stand out as a very different kind of record of the past. Like writing, filmic images do, as Rose points out, fix the past.

But Halbwachs takes the argument a stage further, arguing that ‘il n’y a pas de mémoire possible en dehors des cadres dont les hommes vivant en société se servent pour fixer et retrouver leurs souvenirs’ (memory is not possible 25 MEMORY AND THE MOVING IMAGE outside the frameworks used by men living in society to fix and recall their memories) (p. 107). Individual memory is seen to be constituted by a framework of intersubjectivity. In this case, the ‘stories friends and family have told, photographs, films and books one has come into contact with’ mentioned above as reinforcing, narrativising and intertwining with personal memories would not be seen as simply interiorised, forming a part of the individual’s declarative memory, but as constitutive (along with all the other social structures) of memory itself.

The ease with which video can be made, purchased, copied, and circulated brings the quotidian into our collective memory of him in such a way that the accident of the cartoon videos he received seemed also an accidental truth about him, and the future of this history. (1997: 142) The family’s shared memories of Zak are thus shaped by screen images, which in turn inform Zak’s own memories and the way his sense of identity is forming. In addition, Zak’s mother Valerie finds, as does Berlant herself, that the narratives of Zak’s childhood have in turn been influenced by home videos and photographs of Valerie’s own childhood, and Berlant wonders whether ‘the home movies and pictures from Valerie’s birthday have become so iconic in the rituals of our family memory that she arranged his scene as a repetition of her own’ (p.

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