Atom Egoyan的《回忆》。记忆系统的缺点和优点

IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Digithum Pub Date : 2017-07-01 DOI:10.7238/D.V0I20.3090
Lior Zylberman
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引用次数: 0

摘要

加拿大-亚美尼亚电影制作人Atom Egoyan的广泛工作的特点是,除其他主题外,还涉及我们与过去的联系方式,以及我们的记忆是如何通过各种类型的技术来构建和保存我们的记忆的。在他的最后一部故事片《记住》(2015)中,他回到了这个主题,旨在表现记忆的运作和失败。在本文中,我们将不进行美学分析,而是关注这部电影中记忆的表现形式和模式。为此,我们建议从对记忆系统的调查中来研究它,以解释它的多层和特征,就像我们将解释一些“罪恶”一样,这将使我们不仅能够分析它的扭曲,而且能够分析它工作的方式。最后,我们将给予空间来思考想象力在我们与过去的关系中的位置。
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Atom Egoyan’s Remember. Vices and virtues of the memory systems
The extensive work of the Canadian-Armenian filmmaker Atom Egoyan has been characterized to addressing, among other topics, the ways in which we relate to the past and how our memory is mediated by various types of technology in the construction and conservation of our memories. In Remember (2015), his last feature film t to day, he returns to this topic aiming to represent the operation and the failures of  memory. In the present essay, we will not carry out an aesthetic analysis but rather  focus on the form and modes in which the memory is represented in this film. For this purpose, we propose to study it from an inquiry into the memory systems to account for its multiple layers and characteristics, just as we will account for some “sins” that will allow us to analyze not only its distortions but also its ways of working. Finally we will give space to think the place of the imagination in our relations with the past.
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来源期刊
Digithum
Digithum HUMANITIES, MULTIDISCIPLINARY-
CiteScore
0.80
自引率
0.00%
发文量
5
审稿时长
24 weeks
期刊介绍: Digithum applies a relational perspective in the analysis of processes of inclusion and social exclusion, subjective experiences, social ties, cultural heritage and cultural production and consumption.
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