Buckland-Warren-Puzzle-Films-Complex-Storytelling-Contemporary-Cinema

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Film Form and Mnemonic Devices in Memento 105These shots, placed at the beginning and at the end of the film, are recognizablefor their similarities, even if they change from color to black andwhite, and again to color. They are filmed in the same way and this qualitygives rise to a comparison between the different moments of the story.The final shot, which is close to the end of the film, shows Leonard leavingTeddy, going in a direction that we know is senseless. We dare say theentire film can be understood in this shot. What lasts in the original versionis a sense of uncertainty, conveyed by the open-ended conclusion ofthis sequence. The difference with the chronological version is striking,because as the arrangement follows the chronological order, the sequenceis different: 3, 4, 5, 1, 2. We only see the characters’ movements from andto the derelict building: the first time Leonard enters the area, then he goesout driving Jimmy’s Jaguar, and finally he drives Teddy to the building beforekilling him. With this arrangement, the effect created in the original versionis lost: the significance of the directions of movement is missing, thesense of the actions is misplaced.Final ConsiderationsMemento is a complex film about memory and oblivion, about timeelapsed, and about remembering. It tells the story of a “ten minute guy,”who would be unable, as Sammy Jankis was, to remember an entire film.The viewer is invited to use his or her cognitive and memorial skills to comprehendwhat the main character is unable to master. If Leonard lacks thepossibility of seeing the situation of his current life in its totality, the viewercan take this wide-range look.The whole film is immersed in the past, and we can say that it is entirelybased upon a memorial dimension, structured and reconstructed on thebasis of the viewer’s memory of selected images. In fact the most advancedpoint in time is not an action, but an image: the Polaroid photograph takento document the past, after Teddy’s death. We can see no future events, nosuccessive actions from this point. If we want to know something moreabout the causes of the killing, we have to turn back in time. So memory isat stake, as well as the lack of memory. While watching the film, we can “feel”our own capabilities, because the main character lacks his own. Memento,like other contemporary films, offers the opportunity of considering thisparticular form of aesthetic response: we can study the viewer’s experienceof his or her mental absorption in a complex film, and the ensuing effects.
106 Stefano GhislottiBibliographyBordwell, D. 1985. Narration in the Fiction Film. London: Routledge.Carruthers, M. 1990. The Book of Memory. Cambridge: Cambridge University Press.Klein, A. 2001. “Everything you wanted to know about Memento.” http://archive.salon.com/ent/movies/feature/2001/06/28/memento_analysis/index.html(accessed December 30, 2006).Tulving, E. 1972. “Episodic and semantic memory,” in E. Tulving and W.Donaldson (eds.), Organization of Memory. New York: Academic Press,pp. 381–403.
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Puzzle Films
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Puzzle FilmsComplex Storytelling in
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ContentsList of ContributorsviiIntr
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List of ContributorsDaniel Barratt
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List of ContributorsixHollywood (20
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2 Warren BucklandAll poetic arts, a
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4 Warren BucklandIn reading Bordwel
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6 Warren Bucklandfilm again, rather
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8 Warren Bucklandprocess of narrati
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10 Warren BucklandAllan Cameron and
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12 Warren Buckland4 Eleftheria Than
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14 Thomas Elsaessergenre or a sub-g
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16 Thomas Elsaesserdetails that do
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18 Thomas Elsaesserturns out that t
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20 Thomas Elsaessersituations, and
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22 Thomas ElsaesserA countervailing
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24 Thomas Elsaesserwindows, refresh
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26 Thomas ElsaesserYet paranoia, on
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28 Thomas Elsaesserhim. Donnie Dark
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30 Thomas Elsaessersame time as the
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32 Thomas Elsaesserwriters such as
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34 Thomas Elsaesserand syndication
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36 Thomas ElsaesserIt would be inte
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38 Thomas Elsaesserconditions,” a
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40 Thomas Elsaessermachine of the v
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2Making Sense of Lost HighwayWarren
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44 Warren Bucklandoff-screen sounds
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46 Warren BucklandScene 5, the next
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48 Warren Bucklandview of events. T
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50 Warren Bucklanddream and Renee
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52 Warren Bucklandprotagonist up to
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Page 75 and 76: 64 Daniel Barratt(a) comprehension(
Page 77 and 78: 66 Daniel Barrattsay Anna Crowe, pa
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Page 81 and 82: 70 Daniel BarrattFigure 3.2The Sixt
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Page 95 and 96: 84 Daniel Barrattplausible that thi
Page 97 and 98: 86 Daniel BarrattMiller, G. 1956.
Page 99 and 100: 88 Stefano Ghislottiemploy, and the
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Page 103 and 104: 92 Stefano GhislottiBW1-BW22Motel r
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Page 107 and 108: 96 Stefano Ghislotticolor sequence
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Page 111 and 112: 100 Stefano GhislottiFilm formMain
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Page 125 and 126: 114 Chris DzialoIn this version, th
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Page 129 and 130: 118 Chris Dzialo[T]he great asymmet
Page 131 and 132: 120 Chris Dzialoinexorably forward,
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Page 135 and 136: 124 Chris DzialoJOELWhat are you do
Page 137 and 138: 126 Chris Dzialounmoored between a
Page 139 and 140: 128 Chris DzialoMamber, S. 2003.
Page 141 and 142: 130 Michael WedelThe Opening Sequen
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Page 147 and 148: 136 Michael WedelThis tension aroun
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Page 155 and 156: 144 Michael Wedelwithin the logic o
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Page 159 and 160: 148 Michael Wedel10 For Lefebvre’
Page 161 and 162: 150 Michael WedelJenkins, H. 2004.
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156 Allan Cameron and Sean CubittIn
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158 Allan Cameron and Sean Cubittow
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160 Allan Cameron and Sean Cubittho
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162 Allan Cameron and Sean Cubittsa
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164 Allan Cameron and Sean Cubittmu
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166 Allan Cameron and Sean CubittBi
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168 Gary Bettinsonreclamation of lo
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170 Gary BettinsonAs the film progr
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172 Gary Bettinsonaction in the 204
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174 Gary BettinsonGradually, the pr
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176 Gary Bettinsonand retardation.
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178 Gary Bettinsonpresentation of t
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180 Gary Bettinsonnarration has mis
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182 Gary Bettinsonlevel, however, t
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184 Gary Bettinsonnarrations that h
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186 Gary Bettinsone.g., Chow’s ne
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188 Yunda Eddie FengLou has been ca
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190 Yunda Eddie Fengnarrative progr
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192 Yunda Eddie FengDialogue emanat
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194 Yunda Eddie FengCuriously, desp
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196 Yunda Eddie Fengher dead body).
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198 Yunda Eddie FengSegment 5 (2:05
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200 Yunda Eddie FengXinxia. Even if
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202 Yunda Eddie FengBibliographyBar
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204 Marshall Deutelbaumgenesis, is
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206 Marshall DeutelbaumRecognizing
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208 Marshall Deutelbaumplace in Dec
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210 Marshall Deutelbaumthat he turn
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212 Marshall DeutelbaumCrash and Th
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214 Marshall Deutelbaumher, she mig
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216 Marshall DeutelbaumKwak, H. J.
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218 Eleftheria ThanouliOn first vie
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220 Eleftheria Thanouliactions set
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222 Eleftheria Thanouliin an expres
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224 Eleftheria ThanouliFigure 11.4O
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226 Eleftheria Thanouliscene not on
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228 Eleftheria Thanoulihand, helps
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230 Eleftheria Thanoulisome of the
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232 Eleftheria Thanoulia good knowl
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234 IndexBoccaccio, Giovanni 20book
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236 Indexfoveal vision 63fragmented
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238 IndexMontgomery, Robert 190mora
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240 IndexStranger Than Fiction 108S
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