Future Memories: The Construction of Cinematic Hindsight  

Oleh:

Dijck, José van

Jenis: Article from Journal - ilmiah internasional
Dalam koleksi: Theory, Culture & Society vol. 25 no. 3 (May 2008), page 71-88.
Topik: cognitive philosophy ¦ cultural memory ¦ documentary ¦ home movies ¦ media technologies ¦ social constructivism
Fulltext: 71.pdf (324.79KB)

Isi artikel

The layered concept of cinematic hindsight becomes more significant as the incorporation of personal home videos in public film or television productions gains a new dimension in light of recent technological transformations, particularly digitization. The concept can be theorized from two seemingly divergent perspectives. Following Gilles Deleuze and Mark Hansen, we may primarily consider filmed memories to be convergences of mental projections and technological scripts, studying memory construction at the junction of body and technology. On the other hand, social constructivists like James Moran direct their inquiry from the intersection of technology and culture, connecting the technological apparatus to cultural forms, when trying to account for audiovisual registrations of personal memory. The main goal of this article is to bring together these divergent approaches and to argue that cinematic hindsight may be a fruitful analytical concept if theorized as a co-production of mind, technology and culture. Filmic constructions of memory are concurrently embodied mental projections enabled by media technologies and embedded in cultural forms. Two examples of recent cinematic productions, Capturing the Friedmans and The Final Cut, will ground this combined theory of cinematic hindsight.

Opini Anda

Klik untuk menuliskan opini Anda tentang koleksi ini!

Kembali