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Memory and the Moving ImageFrench Film in the Digital Era$
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Isabelle McNeill

Print publication date: 2010

Print ISBN-13: 9780748638918

Published to Edinburgh Scholarship Online: September 2012

DOI: 10.3366/edinburgh/9780748638918.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 13 October 2019

Memory Maps and City Space

Memory Maps and City Space

Chapter:
(p.123) 4. Memory Maps and City Space
Source:
Memory and the Moving Image
Author(s):

Isabelle Mcneill

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748638918.003.0005

This chapter describes the urban architecture and space and its relation to memory and film's mnemonic role. Mimi investigates Nice as the site of an individual's memories, but cities are by definition inhabited by thousands. The filmed images of Nice can be seen to function, as a kind of intersubjective detour in memory, whereby Mimi's remembering process passes through the filmic city tour and final editing process of her friend. Immemory shows that the vast, interconnected space of contemporary media develops intertextual mnemonic spaces. Se souvenir des belles choses is a fiction film; unlike Mimi and Pola à 27 ans it avoids allowing the viewer to place the town as a specific location. The sheltered gardens of Claire's memory clinic, and Georges Laurent's rural family home in Caché also show the movements between the city and other types of place.

Keywords:   urban architecture, space, memory, Mimi, Immemory, Pola à 27 ans, Se souvenir des belles choses, Caché, Georges Laurent, filmic city tour

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