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Editor: Paul Grainge

As a technology able to picture and embody the temporality of the past, cinema has become central to the mediation of memory in modern cultural life. The memory of film scenes and movies screens, cinema and cinema-going, has become integral to the placement and location of film within the cultural imagination of this century and the last. This book is a sustained, interdisciplinary perspective on memory and film from early cinema to the present. The first section examines the relationship between official and popular history and the constitution of memory narratives in and around the production and consumption of American cinema. The second section examines the politics of memory in a series of chapters that take as their focus three pivotal sites of national conflict in postwar America. This includes the war in Vietnam, American race relations and the Civil Rights Movement, and the history of marginality in the geographic and cultural borderlands of the US. The book explores the articulation of Vietnam. The final section concentrates on the issue of mediation; it explores how technological and semiotic shifts in the cultural terrain have influenced the coding and experience of memory in contemporary cinema. It considers both the presence of music and colour in nostalgia films of the 1990s and the impact of digital and video technologies on the representational determinants of mediated memory. The book also examines the stakes of cultural remembering in the United States and the means by which memory has been figured through Hollywood cinema.

Open Access (free)
The ethics and politics of memory in an age of mass culture
Alison Landsberg

’, even experiential, access to would no longer be limited to the memories of events through which one actually lived. This essay will argue that the effects of capitalist commodification and mass culture are not exclusively privatising and therefore conservative; these forces have also opened up the potential for a progressive, even radical politics of memory: such a politics instrumentalises what I have

in Memory and popular film
Robert Burgoyne

. 8 See Alison Landsberg, ‘Prosthetic Memory: The Logic and Politics of Memory in Modern American Culture’ (PhD dissertation, University of Chicago, 1996), p. 13. 9 See Alison Landsberg, ‘America, the Holocaust, and the Mass Culture of Memory: Toward a Radical Politics of Empathy’, New German

in Memory and popular film
Open Access (free)
Memory and popular film
Paul Grainge

/memory, Part II examines the politics of memory in a series of chapters that take as their focus three pivotal sites of national conflict in postwar America. This includes the war in Vietnam, American race relations and the Civil Rights Movement, and the history of marginality in the geographic and cultural borderlands of the US. These sites have generated hard fought battles of memory within American historical and political

in Memory and popular film
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Pleasantville and the textuality of media memory
Paul Grainge

film rather cleverly weaves elements of culture war rhetoric in and within a media fiction (i.e. the 1950s sitcom) whose myths of family idealism and harmonious community it contiguously deconstructs. Rather than a paradigm of narrative confusion, ideological idiocy or historicist blockage, Pleasantville plays reflexively with culture war discourse and its constituent politics of memory. Colourised

in Memory and popular film