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

nostalgia film’ – his chosen label for the embodiment of postmodern pastiche – a form of evisceration or ‘blank parody’, Dyer holds a more positive view, suggesting a more complex cultural mode that has the potential to be critical and transgressive, but that can also suggest an awareness about the constructed nature of feelings and emotions while allowing them to be experienced and enjoyed. 21 While arriving at different

in Memory and popular film
Open Access (free)
Pleasantville and the textuality of media memory
Paul Grainge

‘memories’ of the period advanced in films like Forrest Gump (1994). Rather than evacuate history through techniques of digital manipulation and stylistic pastiche – something that Fredric Jameson argues in relation to the postmodern ‘nostalgia film’ 3 – both Forrest Gump and Pleasantville inscribe competing visions of the past through an economy of representational retro. As such, my discussion will

in Memory and popular film
Open Access (free)
New retro movies in 1990s Hollywood cinema
Philip Drake

that connote pastness. Such a formulation of the ‘retro film’ shares similarities with Fredric Jameson’s formulation of the ‘nostalgia film’ in that it refers to those films that evoke the past through previously mediated representations and stereotypes of the past. However, I use the term ‘nostalgia’ to describe the mode of engagement between film performance and audience rather than

in Memory and popular film