Day: May 7, 2023

Prosthetic Memory

This chapter’s introduction explores the concept of prosthetic memory, which refers to memories that are formed through the action of mass media, such as cinema and film, and which are not directly experienced by the spectator. The author adopts Alison Landsberg’s theory of prosthetic memory and expands upon it by critically analyzing films that feature examples of prosthetic memory. The chapter explores the relationship between memory, identity, and artificial life, and also addresses brainwashing in films from the cold war era as another form of prosthetic memory. The author also identifies the limitations of the available terminology to define the diversity of representations of prosthetic memories. The chapter provides examples of prosthetic memory in science fiction films, including Blade Runner, Total Recall, and Oblivion, which explore both prosthetic and genetic memories. The author argues that science fiction films provide a rich source of examples of prosthetic memory, which challenge and negotiate the concepts of memory and identity in a variety of sub-genres, such as Cyberpunk and Biopunk.

 

Flashbacks

This chapter provides an overview of the flashback in cinema, including its definition and functions. It also explores the history of the flashback in cinema, tracing its origins in classical literature and discussing its early use in cinema. The chapter explains the different forms of flashbacks, including memory flashbacks and external flashbacks, and considers their use in creating meaning and emotion in film. It also provides various definitions of the flashback, highlighting the importance of the flashback in filmic form and its role in engaging with historical concepts and representing ideas. The chapter concludes by noting that, while flashbacks were used sparingly in classical Hollywood cinema, they have become a common feature of contemporary cinema.

Abstract

The article discusses the author’s transition in their film practice from a feature-length documentary on dementia to creating experimental films on memory due to the pandemic’s limitations. The concept of experimental film and its definition by film scholars A.L. Rees and P. Adams Sitney are explored, with both emphasizing its challenging of mainstream narrative conventions and exploration of film as a medium. The article also touches on the avant-garde and art movements that influence experimental film and how it is presented at film festivals and museums. Finally, Sitney’s quote about the camera, circle, and film speaks to the idea that film has no inherent meaning until a narrative is attributed to it, particularly in the case of experimental films that often lack a traditional script.