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.
and videotechnologies on the
representational determinants of mediated memory.
Focusing on the place and function of music in contemporary retro
movies, Philip Drake considers how the past has been dealt with
stylistically in films such as Jackie Brown (1997) and Sleepless
in Seattle (1993). In ‘“Mortgaged to music”: new retro
movies in 1990s Hollywood cinema’, Drake makes a distinction between
appear unattainable, in contrast, Lisa
emerges at the end of Speaking Parts with her desired
relationship with Lance, a relationship significantly enabled by her
failed attempt to learn to use videotechnology.
Up to a certain point, Egoyan’s films depict a
familiar scenario in which technology has simultaneously obliterated
textuality, memory, and agency. Like techno-paranoia films or