My thesis is practice-based, with a division between producing a series of short experimental films representing memory conceptualisation in film and a written component researching a mixture of primary and secondary sources, theorising on memory representation in film and film memories from the cinematic experience.
In cinema, memory occupies a central role as a thematic and narrative device, profoundly influencing the viewer’s understanding and emotional engagement with the film. Memory in film is not confined to a mere reflection of the past; rather, 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 the production of the initial films, which I felt while exactly reproducing the areas of my research, 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. I have, through the detailed analysis of case studies of multiple genre films, concentrated my research on the history of the flashback in predominately 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 the processes of prosthetic memory and how this expands beyond film to the cinematic experience itself.
Importantly, emerging from my research, the practical element of my thesis became an exploration of Experimental film embracing the use of found footage to create a series of short films using historical footage sourced from some of the pioneers of film and cinema. Using advanced film manipulation and editing techniques to update the projection and viewing experience for a contemporary audience. This expanded approach to filmmaking made it possible 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 the production of short films in the practical element of my research.
I have identified films that 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 fims 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 a genre I had not explored before as a filmmaker which adds to my development as a filmmaker and academic. The research introduced me to a whole new area of filmmaking adding to my personal development in this exciting genre where anything seems possible when embracing new editing technology and revitalising historical films. The opportunity to explore Experimental Film by researching important filmmakers, artists, and theories, recreating some of their techniques in my practice.
A Film Practice Experimental Film “Memories Of Shiqi” (2021)