THE FILMIC REPRESENTATION OF PERSONAL MEMORY: THE FILMS OF MEMORY
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Published
12-06-2017
María Rincón Yohn
Marta Torregrosa Puig;
Efrén Cuevas Álvarez
http://orcid.org/0000-0003-2026-2027
Marta Torregrosa Puig;
Efrén Cuevas Álvarez
Abstract
The article seeks to define and analyze what it calls memory films, fiction or documentary films that have as their main theme personal memory. These films bring to the fore the present/past duplicity –inherent both in memory and in the filmic image–, which unfolds in a personal or subjective time. To represent personal memory, these films are articulated around three characteristics that manage to capture the dynamics of memory as a human faculty: subjectivity, temporal indiscernibility and performativity
How to Cite
Rincón Yohn, M., Torregrosa Puig;, M., & Cuevas Álvarez, E. (2017). THE FILMIC REPRESENTATION OF PERSONAL MEMORY: THE FILMS OF MEMORY. ZER - Journal of Communication Studies, 22(42). https://doi.org/10.1387/zer.17842
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References
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Bazin, A. (1990). ¿Qué es el cine? Madrid: Rialp.
Bergson, H. (1946). The Creative Mind: An Introduction to Metaphysics. NY: Citadel Press.
Ciancio, M. B. (2013). Labyrinths and Lines of Memory in Documentary Film. Memoria del saqueo and Los rubios from a Philosophical Perspective. Latin American Perspectives, 40(1), 101-113. doi: 10.1177/0094582X12460491
Claparède, E. (1911). La question de la mémoire affective. Archives de psychologie, (10), 361-367.
Coleridge, S. T. (2009). Biographia Literaria. Auckland: The Floating Press.
Cuevas Álvarez, E. (2005). Christopher Nolan visto desde Gerard Genette: análisis narratológico de Memento. ZER, 10(18), 183-198.
Deleuze, G. (1987). La imagen-tiempo: Estudios sobre cine II. Barcelona: Paidós.
Doane, M. A. (2002). The emergence of cinematic time: modernity, contingency, the archive. Cambridge: Harvard University Press.
Erll, A. (2011). Memory in Culture. Chippenham y Eastbound: Palgrave Macmillan.
Grass Kleiner, M. (2009). "Imagen latente y Los rubios: Performatividad Cinematográfica y Estética de la Memoria en el Cine Latinoamericano " [Tesis doctoral], Universidad de Chile. Recuperado de http://repositorio.uchile.cl/tesis/uchile/2009/grass_m/html/index-frames.html
Green, Ch. (2008). The Memory Effect: Anachronism, Time and Motion. Third Text, 22(6), 681-697. doi: 10.1080/09528820802652391
Grossman, A. (2013). Filming In the Light of Memory. En Surh, Ch., y Willerslev, R. Transcultural Montage (pp. 198-212). NY: Berghahn Books.
Holdsworth, A. (2010). Televisual memory. Screen, 51(2), 129-142. doi: 10.1093/screen/hjq007
Kuhn, A. (2000). A journey through memory. En Radstone, S., Memory and methodology (pp. 179-196). Oxford: Berg.
Kuhn, A. (2010). Memory texts and memory work: Performances of memory in and with visual media. Memory Studies, 3(4), 298-313. doi: 10.1177/1750698010370034
MacDougall, D. (1992). Films of Memory. Visual Anthropology Review, 8(1), 29-37. doi: 10.1525/var.1992.8.1.29
MacDougall, D. (1998). Films of Memory. En Macdougall, D. (ed.), Transcultural cinema (pp. 231-244). Princeton: Princeton University Press.
Metz, Ch. (2002). À propos de l'impression de réalité au cinéma. En Metz, Ch., Essais sur la signification au cinéma (pp. 13-24). París: Klincksieck.
Metz, Ch. (1987). Fotografía y fetiche. Signo y Pensamiento, 6(11), 123-133.
Metz, Ch. (1977). Le signifiant imaginaire: psychanalyse et cinema. París: Union Générale D'Éditions.
Murakami , K. (2012). Time for Memory: Beyond Spatial Metaphors? Culture and Psychology, 18(1), 3-13. doi: 10.1177/1354067X11427468
Nichols, B. (1994). Blurred Boundaries. Questions of Meaning in Contemporary Culture. Bloomington: Indiana University Press.
Nungesser, V. S. (2009). I Forgot to Remember (to Forget): Personal Memories in Memento (2000) and Eternal Sunshine of the Spotless
Mind (2004). En Erll, A. y Rigney, A. (eds.). Mediation, Remediation, and the Dynamics of Cultural Memory (pp. 31-47). Gruyter: Berlín.
Niney, F. (2011). L'épreuve du réel à l'écran. Essai sur le principe de réalité documentaire. Bruxelles: De Boeck.
Ricoeur, P. (2003). La memoria, la historia, el olvido. Madrid: Trotta.
Ricoeur, P. (2006). Tiempo y narración. México: Siglo Veintiuno, México.
Sperb, J. (2005). Internal Sunshine: Illuminating Being-Memory in Eternal Sunshine of the Spotless Mind. Kritikos, 2, 1-12. Recuperado de http://intertheory.org/sunshine.htm
Sturken, M. (2002). The Politics of Video Memory: Electronic Erasures and Inscriptions. En Feng P. X., Screening Asian Americans (pp. 173-184). New Brunswick: Rutgers University Press.
Sutton, J. (2009). The Feel of the World: exograms, habits, and the confusion of types of memory. En Kania, A. (ed.) Philosophers on "Memento" (pp. 65-86). London: Routleedge.
Totaro, D. (1999). Gilles Deleuze's Bergsonian Film Project. Offscreen, 3(3). Recuperado en http://offscreen.com/view/bergson2
Van Alphen, E. (2009). Hacia una nueva historiografía: Péter Forgács y la estética de la temporalidad. Estudios Visuales, 6, 30-47. Recuperado de http://www.estudiosvisuales.net/revista/pdf/num6/alphen_EV6.pdf
Bazin, A. (1990). ¿Qué es el cine? Madrid: Rialp.
Bergson, H. (1946). The Creative Mind: An Introduction to Metaphysics. NY: Citadel Press.
Ciancio, M. B. (2013). Labyrinths and Lines of Memory in Documentary Film. Memoria del saqueo and Los rubios from a Philosophical Perspective. Latin American Perspectives, 40(1), 101-113. doi: 10.1177/0094582X12460491
Claparède, E. (1911). La question de la mémoire affective. Archives de psychologie, (10), 361-367.
Coleridge, S. T. (2009). Biographia Literaria. Auckland: The Floating Press.
Cuevas Álvarez, E. (2005). Christopher Nolan visto desde Gerard Genette: análisis narratológico de Memento. ZER, 10(18), 183-198.
Deleuze, G. (1987). La imagen-tiempo: Estudios sobre cine II. Barcelona: Paidós.
Doane, M. A. (2002). The emergence of cinematic time: modernity, contingency, the archive. Cambridge: Harvard University Press.
Erll, A. (2011). Memory in Culture. Chippenham y Eastbound: Palgrave Macmillan.
Grass Kleiner, M. (2009). "Imagen latente y Los rubios: Performatividad Cinematográfica y Estética de la Memoria en el Cine Latinoamericano " [Tesis doctoral], Universidad de Chile. Recuperado de http://repositorio.uchile.cl/tesis/uchile/2009/grass_m/html/index-frames.html
Green, Ch. (2008). The Memory Effect: Anachronism, Time and Motion. Third Text, 22(6), 681-697. doi: 10.1080/09528820802652391
Grossman, A. (2013). Filming In the Light of Memory. En Surh, Ch., y Willerslev, R. Transcultural Montage (pp. 198-212). NY: Berghahn Books.
Holdsworth, A. (2010). Televisual memory. Screen, 51(2), 129-142. doi: 10.1093/screen/hjq007
Kuhn, A. (2000). A journey through memory. En Radstone, S., Memory and methodology (pp. 179-196). Oxford: Berg.
Kuhn, A. (2010). Memory texts and memory work: Performances of memory in and with visual media. Memory Studies, 3(4), 298-313. doi: 10.1177/1750698010370034
MacDougall, D. (1992). Films of Memory. Visual Anthropology Review, 8(1), 29-37. doi: 10.1525/var.1992.8.1.29
MacDougall, D. (1998). Films of Memory. En Macdougall, D. (ed.), Transcultural cinema (pp. 231-244). Princeton: Princeton University Press.
Metz, Ch. (2002). À propos de l'impression de réalité au cinéma. En Metz, Ch., Essais sur la signification au cinéma (pp. 13-24). París: Klincksieck.
Metz, Ch. (1987). Fotografía y fetiche. Signo y Pensamiento, 6(11), 123-133.
Metz, Ch. (1977). Le signifiant imaginaire: psychanalyse et cinema. París: Union Générale D'Éditions.
Murakami , K. (2012). Time for Memory: Beyond Spatial Metaphors? Culture and Psychology, 18(1), 3-13. doi: 10.1177/1354067X11427468
Nichols, B. (1994). Blurred Boundaries. Questions of Meaning in Contemporary Culture. Bloomington: Indiana University Press.
Nungesser, V. S. (2009). I Forgot to Remember (to Forget): Personal Memories in Memento (2000) and Eternal Sunshine of the Spotless
Mind (2004). En Erll, A. y Rigney, A. (eds.). Mediation, Remediation, and the Dynamics of Cultural Memory (pp. 31-47). Gruyter: Berlín.
Niney, F. (2011). L'épreuve du réel à l'écran. Essai sur le principe de réalité documentaire. Bruxelles: De Boeck.
Ricoeur, P. (2003). La memoria, la historia, el olvido. Madrid: Trotta.
Ricoeur, P. (2006). Tiempo y narración. México: Siglo Veintiuno, México.
Sperb, J. (2005). Internal Sunshine: Illuminating Being-Memory in Eternal Sunshine of the Spotless Mind. Kritikos, 2, 1-12. Recuperado de http://intertheory.org/sunshine.htm
Sturken, M. (2002). The Politics of Video Memory: Electronic Erasures and Inscriptions. En Feng P. X., Screening Asian Americans (pp. 173-184). New Brunswick: Rutgers University Press.
Sutton, J. (2009). The Feel of the World: exograms, habits, and the confusion of types of memory. En Kania, A. (ed.) Philosophers on "Memento" (pp. 65-86). London: Routleedge.
Totaro, D. (1999). Gilles Deleuze's Bergsonian Film Project. Offscreen, 3(3). Recuperado en http://offscreen.com/view/bergson2
Van Alphen, E. (2009). Hacia una nueva historiografía: Péter Forgács y la estética de la temporalidad. Estudios Visuales, 6, 30-47. Recuperado de http://www.estudiosvisuales.net/revista/pdf/num6/alphen_EV6.pdf
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