My PhD is practice-based. Its written component involves producing a series of short experimental films that represent memory conceptualisation in film, researching a mixture of primary and secondary sources, and theorising memory representation in film and film memories from the cinematic experience.
Memory is a central thematic and narrative device in cinema, profoundly influencing the viewer’s understanding and emotional engagement with the film. Memory in the film is not confined to a mere reflection of the past; instead, it assumes a dynamic role, shaping the characters, their relationships, and the overall narrative structure. This thesis aims to delve into the multifaceted conceptualisation of memory in film, focusing on key elements such as flashbacks, prosthetic memory, brainwashing, collective memory, cultural memory, and experimental film practice.
A key aspect of my practice-based research is the production of films that incorporate the concepts of memory in film. After producing the initial films, which I felt while exactly reproducing my research areas, I discarded them as they appeared to offer insufficient advancement in my study field or, in some cases, diverged from my research interest.
After researching key aspects of memory representation in film, I decided to concentrate my research by building upon the work of, but not limited to, the film academics Turim, Landsberg and Radstone. Through the detailed analysis of case studies of multiple genre films, I have concentrated my research on the history of the flashback in but not limited to Hollywood films and, in addition, the use of prosthetic memory in predominately but also not limited to science fiction genre films.
Using these case studies, I will introduce and explore the different types of flashbacks, naming and explaining their unique elements and the visual and sound aspects as the audience is transported into and out of the flashback sequence. I will also explore the history of the flashback in Hollywood films.
Similarly, I will define the concept of prosthetic memory as advanced by Landsberg and, through case studies, reveal its processes and how this expands beyond film to the cinematic experience.
Notably, the practical element of my thesis emerged from my research and exploration of experimental film. I embraced found footage to create a series of short films using historical footage sourced from some of the pioneers of film and cinema. I used advanced film manipulation and editing techniques to update a contemporary audience’s projection and viewing experience. This expanded approach to filmmaking allowed me to investigate the early historical film experience while creating a new experimental film experience.
This thesis aims to identify gaps in the theoretical knowledge of memory conceptualisation in films and explore these concepts of memory in producing short films in the practical element of my research.
I have identified films I have used as case studies to explore these memory concepts, including flashbacks, prosthetic memory, and collective and cultural memory. These concepts also overlap with other disciplines, such as sociological and trauma theory.
Using the film techniques I have employed in the practical element of my thesis, the processes and methodology are repeatable for filmmakers to produce their versions of my films exploring film history but not just limited to early pioneering films but also contemporary films in the style of my film Forbidden Futures (Ian Hunt, 2022) using found footage of contemporary Hollywood Science Fiction films.
My thesis introduced me to a new genre of filmmaking: Experimental Film. This genre is one I had not explored before as a filmmaker, and it has contributed to my development as a filmmaker and academic. The research also introduced me to a new area of filmmaking, adding to my growth in this exciting genre, where anything seems possible when embracing new editing technology and revitalising historical films. I had the opportunity to explore experimental film by researching important filmmakers, artists, and theories and recreating some of their techniques in my practice.
Prosthetic memory – continued.
A Film Practice Experimental Film “Memories Of Shiqi” (2021)