Memory in Cinema/Memory after Cinema
Natasza Korczarowska
natasza.korczarowska@uni.lodz.plUniversity of Lodz (Poland)
https://orcid.org/0000-0003-3130-128X
Abstract
The text reflects on the relationship between cinema and memory. The author starts from the ontology of André Bazin, searching in the French critic’s famous essay for an answer to the question about the function of cinema as a tool for ‘embalming time.’ The theoretical framework of reflection is Alison Landsberg’s concept of prosthetic memory (image as a memory prosthesis) and Vivian P. Y. Lee’s post-nostalgia (image as a record of textualized memories). The author draws attention to the role of photography, which she treats – along with Edgar Morin and Roland Barthes – as a source of cinematic hauntology. The reflection was inspired by Damien Chazelle’s film Babylon (2022), especially by its self-reflexive finale, made in the spirit of Jean-Luc Godard’s essayistic Histoire(s) du cinéma (1988-1998), which the author treats as an epitaph for cinema, or rather for its traditionally understood dispositive. (Non-reviewed material).
Keywords:
memory, postmemory, cinema, photographyReferences
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Authors
Natasza Korczarowskanatasza.korczarowska@uni.lodz.pl
University of Lodz Poland
https://orcid.org/0000-0003-3130-128X
Professor at the Department of Film and Audiovisual Media, Institute of Contemporary Culture, University of Lodz. She specializes in the history of Polish film, contemporary European cinema, and the problems of historiophoty. She published the books Ojczyzny prywatne [Private Homelands] (2007) and Inne spojrzenie [Another Way] (2013) – the latter devoted to the images of history in the Polish feature film after 1965. Since 2008 she has cooperated with the Polish Film Institute and the National Film Archive – Audiovisual Institute on the educational project Academy of Polish Film.
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