ii. experiential affirmation
In “Telling Stories: Narration, Emotion, and In- sight in Memento,” Gaut sets out to show how Memento’s narration conditions cognitive and emotional responses.12 He does not explicitly enter the cinematic philosophy debate, as his concern is with the power of narration and his paper an examination of the artistic properties of Memento’s narration. Nonetheless, the notion of experiential confirmation which he advances indicates the manner in which at least one film can meet both the means and results conditions of Livingston’s bold thesis. Gaut distinguishes between narrative (what is presented) and narration (how it is presented) and selects Memento as his example for two reasons.13
First, its narration is extremely complex. I do not have space to explain the narrative structure of the film; suffice to say that it is far more intricate than reversed chronology.14 Despite this complex- ity, however, the attempt to structure the events in the correct sequence is ultimately rewarding and enlightening, unlike a film such as Alain Resnais’ Last Year at Marienbad (1961).15
Second, the DVD release of Memento contains an Easter egg, which allows the work to be viewed in chronological order. Gaut employs the contrast between the original and chronological versions—which have the same narrative, but different narration—in order to focus on the artistic properties of Memento’s narration.16 In the course of discussing these properties, Gaut mentions “partial confirmation.”17 The narration of Memento conditions responses by providing partial confirmation of the cognitive claims about the actual world that is explicit or implicit in the narrative and thereby also providing partial justification for the emotional responses grounded on those claims.18 Gaut maintains that assertions about the real world are embedded in the narrative and focuses on three:
1. memory is unreliable,
2. memory is partly determined by one’s aims, and
3. memory is essential to understanding.19
The narration of the film provides partial confirmation of these claims, which he calls “narrational confirmation.”20 Gaut then offers evidence for the narrational confirmation of assertions (1) to (3).
Regarding (1), he claims that the film actually confirms the unreliability of memory through its narration.21 Memento’s narration is so complex that remembering the sequence in which the events are presented and the actual sequence of the events is extremely difficult. This may seem unconvincing to someone who has not watched the work, but Gaut cites both Christopher Nolan’s experience of not always knowing which scene is next and his own; the former is based on more
ii. experiential affirmation
In “Telling Stories: Narration, Emotion, and In- sight in Memento,” Gaut sets out to show how Memento’s narration conditions cognitive and emotional responses.12 He does not explicitly enter the cinematic philosophy debate, as his concern is with the power of narration and his paper an examination of the artistic properties of Memento’s narration. Nonetheless, the notion of experiential confirmation which he advances indicates the manner in which at least one film can meet both the means and results conditions of Livingston’s bold thesis. Gaut distinguishes between narrative (what is presented) and narration (how it is presented) and selects Memento as his example for two reasons.13
First, its narration is extremely complex. I do not have space to explain the narrative structure of the film; suffice to say that it is far more intricate than reversed chronology.14 Despite this complex- ity, however, the attempt to structure the events in the correct sequence is ultimately rewarding and enlightening, unlike a film such as Alain Resnais’ Last Year at Marienbad (1961).15
Second, the DVD release of Memento contains an Easter egg, which allows the work to be viewed in chronological order. Gaut employs the contrast between the original and chronological versions—which have the same narrative, but different narration—in order to focus on the artistic properties of Memento’s narration.16 In the course of discussing these properties, Gaut mentions “partial confirmation.”17 The narration of Memento conditions responses by providing partial confirmation of the cognitive claims about the actual world that is explicit or implicit in the narrative and thereby also providing partial justification for the emotional responses grounded on those claims.18 Gaut maintains that assertions about the real world are embedded in the narrative and focuses on three:
1. memory is unreliable,
2. memory is partly determined by one’s aims, and
3. memory is essential to understanding.19
The narration of the film provides partial confirmation of these claims, which he calls “narrational confirmation.”20 Gaut then offers evidence for the narrational confirmation of assertions (1) to (3).
Regarding (1), he claims that the film actually confirms the unreliability of memory through its narration.21 Memento’s narration is so complex that remembering the sequence in which the events are presented and the actual sequence of the events is extremely difficult. This may seem unconvincing to someone who has not watched the work, but Gaut cites both Christopher Nolan’s experience of not always knowing which scene is next and his own; the former is based on more
การแปล กรุณารอสักครู่..