Laberintos del recuerdola representación de la memoria en ¡Olvídate de mí!

  1. Yohn, María del Rincón 1
  2. Cuevas Álvarez, Efrén 1
  3. Noguera Tajadura, María
  1. 1 Universidad de Navarra
    info

    Universidad de Navarra

    Pamplona, España

    ROR https://ror.org/02rxc7m23

Journal:
Fotocinema: revista científica de cine y fotografía

ISSN: 2172-0150

Year of publication: 2020

Issue Title: El cine y la memoria

Issue: 20

Pages: 223-244

Type: Article

DOI: 10.24310/FOTOCINEMA.2020.V0I20.7601 DIALNET GOOGLE SCHOLAR lock_openDialnet editor

More publications in: Fotocinema: revista científica de cine y fotografía

Sustainable development goals

Abstract

The article proposes a study of the film Eternal Sunshine of the Spotless Mind as a paradigmatic case of "memory film". The film, directed by Michel Gondry and written by Charlie Kaufman, addresses the filmic representation of personal memory in an accomplished way, in its double condition of object and process. The analysis first deals with how memory emerges in the film as its thematic axis. Then the structure of the story is analyzed, built with different narrative lines that constantly intersect and that cause an obvious narratological complexity. Finally, the three most characteristic features of memory films are addressed: subjectivity, temporal indiscernibility and performativity. The way in which these three features converge on Eternal Sunshine of the Spotless Mind makes this film an excellent example of the possibilities available in cinema for the representation of personal memory.

Bibliographic References

  • Bergson, H. (1946), The Creative Mind: An Introduction to Metaphysics. New York: Citadel Press.
  • Buckland, W. (2009). Puzzle Films: Complex Storytelling in Contemporary Cinema. Chichester: Wiley-Blackwell.
  • Campora, M. (2009). Art cinema and New Hollywood: Multiform narrative and sonic metalepsis in Eternal Sunshine of the Spotless Mind. New Review of Film and Television Studies, 7 (2), 119-131.
  • 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.
  • Cuevas, E. (2001). Focalización de los relatos audiovisuales. Trípodos, 11, 123-136.
  • Cuevas, E. (2009). La narratología audiovisual como método de análisis. Portal de la Comunicación, 1-12. http://www.portalcomunicacion.com/uploads/pdf/53_esp.pdf
  • Day, W. (2011). I Don’t Know, Just Wait: Remembering Remarriage in Eternal Sunshine of the Spotless Mind. En D. Larocca (ed.), The Philosophy of Charlie Kaufman (pp. 132-154). Lexington: University Press of Kentucky.
  • Deleuze, G. (1987). La imagen-tiempo: Estudios sobre cine II. Barcelona: Paidós.
  • Deleuze, G. (1991). La imagen-tiempo: Estudios sobre cine I. Barcelona: Paidós.
  • Del Rincón, M., Torregrosa, M., Cuevas, E. (2017). La representación fílmica de la memoria personal: las películas de memoria. ZER, 22 (42), 175-188. DOI: 10.1387/zer.17842
  • Dzialo, C. (2009). Frustrated Time Narration: the Screenplays of Charlie Kaufman. En W. Buckland (ed.), Puzzle Films: Complex Storytelling in Contemporary Cinema (pp. 107-128). Chichester: Wiley-Blackwell.
  • Erll, A. (2011). Memory in Culture. Chippenham and Eastbound: Palgrave Macmillan.
  • García-Sahagún, M (2016). La crisis de la identidad personal en el protagonista del cine contemporáneo (Tesis doctoral). Universidad Complutense de Madrid https://eprints.ucm.es/44286/1/T39119.pdf
  • Gaudreault, A., Jost, F. (1995). El relato cinematográfico. Cine y narratología. Barcelona: Paidós.
  • Genette, G. (1989). Figuras III. Barcelona: Lumen.
  • Genette, G. (2004). Metalepsis. De la figura a la ficción. Buenos Aires: Fondo de Cultura Económica.
  • Grass, 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
  • Jost, F. (1989). L'Oeil-caméra. Entre film et roman. 2ª ed. revisada y aumentada. Lyon: Presses Universitarires de Lyon.
  • Kilbourn, R. J. A. (2012). Cinema, Memory, Modernity: The representation of Memory from the Art Film to Transnational Cinema. Nueva York: Routledge.
  • Kiss, M. (2012). Navigation in Complex Films: Real-life Embodied Experiences Underlying Narrative Categorisation. En J. Eckel, B. Leiendecker, D. Olek (eds.), (Dis)Orienting Media and Narrative Mazes (pp. 237-251). Bielefeld: Transcript.
  • MacDougall, D. (1992). Films of Memory. Visual Anthropology Review, 8 (1), 29-37.
  • MacDougall, D. (1998). Films of Memory. En D. MacDougall (ed.), Transcultural Cinema (pp. 231-244). Princeton: Princeton University Press.
  • Murray, J. H. (1997). Hamlet on the Holodeck: The Future of Narrative in Cyberspace. Nueva York: Free Press.
  • Piggot, M. (2009). Manifesting a Mutant Past in Eternal Sunshine of the Spotless Mind. En C. Lee (ed.), Violating time: History, Memory and Nostalgia y Cinema (pp. 170-190). Nueva York: Continuum.
  • Rawle, S. (2012). Reconstructing the Past: Visual Virtuality in Eternal Sunshine of the Spotless Mind. En A. Shinha, T. McSweeney (eds.), Millennial Cinema: Memory in Global Film (pp. 37-54). Londres y Nueva York: Wallflower Press.
  • Sperb, J. (2005). Internal Sunshine: Illuminating Being-Memory in Eternal Sunshine of the Spotless Mind. Kritikos, 2. https://intertheory.org/sunshine.htm
  • Vidal, F. (2007). Eternal Sunshine of the Spotless Mind and the cultural history of the self. WerkstattGeschichte, 16 (45), 96-109.
Data source: Dialnet