Complex Narrative Structure Of Memento

Complex Narrative complex body part Of mementoDue to the nature and complex taradiddle structure of keepsake (Nolan 2000), peerless has to closely evaluate the succession of plaints onward sensation could practice the effrontery that this dissipate is a typical Hollywood main period intercommunicate prove. It is tumefy-heeled to assume that this hit would in fact fit the criteria of the Hollywood mainstream motion picture, only upon looking at the cast and A-List director- Christopher Nolan- who unmatch able could assume would well-disposed occasion his usual cinematic style to ensure the success of this dissipate. The complex display to the video already creates the anxiety-driven drive to finish watching the word-painting, collectible to the unusualness of the disruption scene that distinguishes souvenir (Nolan 2000) from other unmingled Hollywood films.Jean Baudrillard drawing biographyJean Baudrillard, the French sociologist, cultural critic, and theor ist of put up contemporaneity were born in Reims on the 27th of July, 1929. point though his parents were well-mannered servants and his grandparents were peasant farmers, Jean Baudrillard was the first University graduate from his family. He later went on to teach sociology at University and was named superstar of the most intellectual figures of his while. Through issue his childhood, he was exposed to the Algerian war of the 1950s and 60s, which had a crucial regularise on the way he thinks and perceives auberge (Jean Baudrillard-Biography sa).After becoming an adjuvant at Nanterre University of Paris in 1966, he was quickly connected with Roland Barthes and utilize Bartheses analysis of culture in his first book, namely The Object schema (1968). When the students of Nanterre University revolted in 1968, Baudrillard joined in the action, and through inspiration, assisted with a typical journal of the time, Utopie. This journal was clearly influenced by situationism , structural Marxism and various media theories wherein he issued numerous theoretical articles or so/on the environment of capitalist successfulness (affluence) and the evaluation of technology. Baudrillard therefrom went on to teach at the European receive School (EGS) from the day that the school opened to the day of his death on the 6th of March, 2007 (Jean Baudrillard-Biography sa).Marxism and (post-) Marxism red ink film possibilityThe Marxist approach to the select of films centres (foc enjoyments) on the continuous ways that cinema ideologic all in ally allow and scour betrays the devises that diminishes the middle-class (bourgeois) celestial horizon of troupe and the knowledge domain. These devises (mechanisms) of ideology comprise both the fond organisations (institutions), as well as the industrial knowledge that vigorously aim to create (produce) the middle-class culture which society consume daily. Several hairsplitting illustrations of such sociable and i ndustrial organisations are (1) the way labour is split up to ensure tax (capital) (2) hierarchy ( societal tell and class-structure) (3) industrial transformation of r pull downue of production and (4) replacing services (commodities). Each (and all) of the mentioned devices (mechanisms) beget been incorporated into (and informed) the film trade since it originated. In the sphere of cinema and film, these mechanisms shape the influential culture-producing surgical incision of societal apparatuses that Marxist film theorists calls the cinematic apparatus (Netto 2000sp).Jean Baudrillards whimsy of MarxismIn his book, The consumer society (Baudrillard 1998183), Baudrillard needs the conclusion and commends multiple forms of refusal of common ruling (convention), perspicuous nonable and eye-catching utilisation (consumption), and conventional thinking and behaving, which can last be merged (combined) into a practice of radical diverge (Baudrillard 1998183). Baudrillard then g oes on to describe a state (situation) where isolation (alienation) in its totality cannot be improved on since it is the very structure of market society (Baudrillard 1998190). Baudrillard surrounds that in a friendly order (culture), in which everything is seen as a product or service that can be purchased and put up for sale, that isolation (alienation) is total. Thus, isolation (alienation) is ever present in the social order where everything (from products to services) can be bought (Kellner 2007sp).In the early 1970s, Baudrillard had an unsure (ambivalent) relationship with the theory of conventional Marxism in the since that he agreed with the Marxian analysis of the production of social commodities, which ultimately defined and critiqued the various suppositions of estrangement (alienation), dominant power, and exploitation that was make by capitalism. One could swan that Baudrillards evaluation of these feelings corresponds with the traditional (standard) neo- Marxia n viewpoint which puts emphasis on the culp cogency of Capitalism and makes the assumption that Capitalism is homogenizing, domineering and rule social class systems whilst depriving psyches of their liberty, originality and imagination, time, and potential (Kellner 2007sp).In contradiction, Baudrillard could never emphasise any(prenominal) revolutionary pull outs and above all, didnt argue the circumstances and prospectives of the working class as a driving force for an altered (changed) social order of consumption. Thus, with no suggestion of the subject as a participating driving force of societal modification, Baudrillard pursued the structuralist and poststructuralist assessment of the righteousness-seeking (philosophical) and practical subject matter which was extensively governed in French deliberation. Practitioners of structuralism and post structuralism argued that bias (subjectivity) was molded by verbal communication (language), societal establishments, and cultura l appearances and wasnt sovereign of its domain in these establishments and preparations (Kellner 2007sp).Classical film noir Definition, Primary percentageistics, conventions and historical surroundingsThe social lead of the manly protagonistIn (post-) Marxist noir films, the protagonist is frequently interpret as a case-by-case white male, who is usually psychologically tumultuous due to disloyalty or or so form of loss of something in bad-tempered. The male protagonist is in any case usually emotionally crippled or psychologically injured. This summary of the post Marxist noir leading male is applicable to the post Marxist neo-noir picture relic (Nolan 2000) (Szyszka 2007sp).In Memento (Nolan 2000), Nolan presents the character of Leonard Shelby (Guy Pierce) who could be seen as a combination of the typical private investigator that thrives in noir and neo-noir films and the defective (flawed) insurance salesman of the noir crime picture. The result is a brain shame d insurance investigator. This character in itself is already a complex and provoke one, except Nolen makes Leonard even more complex by turning Leonard into a serial killer who is unaware of the driving forces that influences him to commit these crimes (Szyszka 2007sp).Further characteristics of classical film noir mood, tone, visual and cinematic elementsAccording to the British Medical diary (BMJ), that did a study on films dealing with fund, and made the conclusion that in Memento (Nolan 2000)- different from other films dealing with the retrospect genre- Leonards character (with some form of amnesia) maintains/retains his identity and puts emphasis on a number of laborious daily problems regarding recollection related to mental disorders (Szyszka 2007sp).After watching this film one could argue that the disjointed, mosaic-like quality of the succession of change scenes in Memento (Nolan 2000) ingeniously simulates the perpetual present characteristics of memory loss rel ated checks. The film does not however merely represent mental/neurological ailment, hardly furthermore supports the (post-) Marxian notion of the leading white male point of view. This notion is supported by purposely bringing in a evil femme fatale character named Natalie (Carrie-Anne Moss). Natalie makes use of Leonard by lying to him, whilst give tongue to him that she is using him, since she is fully aware of Leonards condition and knows that his memory will fade. Yet again, Nolan does so to make a victim of the protagonist in order to distract the viewing audience from the plot by making use of empathetic relation to the character (Szyszka 2007sp).Neo noir filmsIn the 1990s, spectators all through the world were presented with a newer and darker reading of noir, which was concealed within old methods, yet they were presented as fresh and tricksy narratives in magnificent colour. One of the things that make 90s neo-noir different from previous recreations of film noir is the reoccurring focal point on mental illness and the dilemmas ca utilise by psychological struggles. Within this new neo-noir, a white male middle-class anticipation was reflected, articulating the fear of becoming the solitary objective in an innovative hardy politically correct society. neo-noir also emphasised the increasing statistics of mental illness of the 90s in America (Szyszka 2007sp).Neo-noir films were made to retaliate against a variety of minorities assiduous with complicated interior clashes that inhabits not only the learning abilitys of the characters, besides also the genius of the filmmakers. Whereas this is a presumption as to why noir returned (resurfaced), it is apparently apparent that noir- exclusively composed of method (style) over matter (substance) was a new way of thinking in (post-) Marxist filmmaking. By entering the unknown ground of the inner workings of the mind (psyche), as supposed to the usual sensual plane of existence that regul arly surfaces in the narrative cinema, the matter (substance) was produced (formed) (Szyszka 2007sp). In these types of films, making use of the psychological (mental) state whilst attacking unfit elements disrupting the social order, a new innovative way of filmmaking ensured an interesting and attention-grabbing combination (Szyszka 2007sp).In 90s American cinema, audiences were extremely wrapped-up in paranoia. It was a time of confusion and society was faced with a civic (public) crisis when the need for truth, the status of discipline, and the determination of truth surfaced (Szyszka 2007sp). It is ordinarily noticeable that postmodern, post-industrial, post- Marxist, and post- cold war social orders (society) shaped and produced an current concern to what is material and how substantiality could be established and the authorization thereof. The chronic psychological (mental) focal point in/of 90s contemporary American cinema- chiefly of neo-noir- revolves around the postm odern panic (fear) and uncertainty over truth and humans. The net income (made available to the public in the 1990s) not only brought an increasing stream of information, but made it more difficult for society to know what to trustingness and what not to trust. The 90s is known as the era where it was the fastest and easiest way of dispersal of propaganda and misinformation, which added a spiralling effect of cynicism and disillusionment of a nation (Szyszka 2007sp ).Strategy of the realThe way in which text positions and/or fixes the peach (consumer) is revealed first and initiatory through a significant assessment surrounding the dominant (governing) structures of cinema, exhibit by the Hollywood system (structure), and its utilization of narrative and realist forms (Baraski and sententious 1985276). One could argue that the dominating shape of narrative used in mainstream cinema and Tele view creates a meticulous mode (way) of interpreting the world (dominant society) qu ite a than focussing on the subject matter of the motion picture it is concerned with mysteries and anxiety that focuses on the attention of the audience to the method of narrative resolution, it demands and supplies destinations which appear to present straightforward resolutions and conclusions to the struggles it has symbolized (represented), so that it constructs a closed view of the world (modern society) attention (interest) is frequently concerned on a single protagonist rather than groups, and driving forces is understood in the psychosomatic rather than societal conditions (Baraski and Short 1985276).In the same way that it is impractical to rediscover a total (absolute) level of reality it is also unimaginable to form a false impression (illusion) of what is real. The possibility of illusion is not possible anymore because the possibility of the real does no longer exist. for instance, should one fabricate (simulate) a break in at a local department store, it would be an interesting observation as to how one would be treated by the repressive state apparatus, as sopposed to what would happen to a person who organised a real brake in. A real brake in would ultimately disturb the infixed order of things- individual property rights- whereas the dissembling of a looting ultimately obstructs the code of reality. misbehavior and aggression (committing a crime) are not as serious, because it simply challenges the natural (real) order and will be delt with. Simulation of the real is considerably more hazardous devoted that it unceasingly implies (suggests), in addition to its object, that regulation (law) and take (order) in itself are merely cloaks (Simulacra and Simulations 1988sp).Nevertheless, after simulating a fake robbery, how would one convince the repressive state apparatus that it was merely a simulation of theft? One couldnt, for the reason that there is no objective distinction. akin motions (gestures) and identical signs are apparen t in a simulated robbery as it would in a real theft. As far as the dominant power (Ideological state apparatus and repressive state apparatus) is concerned, they (the gestures and signs) check those of a real robbery. After the fake robbery, one would- without knowing- find oneself straightaway in the real (one of whose purpose is specifically and ideologically produced to consume all efforts of simulation) reducing everything to reality (Simulacra and Simulations 1988sp).Socialist and radical practitioner charter been using realism as a narrative structure, and although they have been criticised since they are significant to the realities they depict, have been presenting information of reality as trouble-free and doesnt properly give possible methods of altering (changing) the world.in addition, they present an uncomplicated truth regarding society. This is the innermost predicament of realism that it presumes a representation which it considers as the truth, neither scrutin izing the course of representation nor inserting audiences into position from which they have to work to create an concord of the text. The significance to the workings of Marxism and (post-) Marxism is that dominant cinema and TV are viewed as two of the positions through which dominant ideology is symbolized (represented) and accomplishes its effects. Narrative forms and realist forms are ideological, and their ingenuousness and obvious impartialities are conducts of disguising the fact that they create a meticulous vision of the world (Baraski, Z.G Short, J.R 1985 277).The revenge filmBy convincing the viewer that Leonards homicidal ways are driven by vengeance (Leonard wants to avenge the misdemeanour and maul of his wife by hunting down the alleged murderer, antic G) one could say that Nolan relies on the aspect of sympathy .i.e. to sympathise with a character to justify his/her actions (Szyszka 2007sp).Common characteristicsAlthough the film humorously simulates the auth orative power of the pugnacious private detective (private- eye) by giving Leonard a voice-over narration, his weakening state-of-mind (short-term memory loss) undermines/and challenges any assertion that Leonard is creating a continuous, consistent narrative- either about himself or about other characters. One could say that one of the main purposes of the enigmatic voice-over narrative is to include comical relief throughout the picture. This is applicable in the scene where Leonard is apparently chasing a man Okay, what am I doing? Im chasing this guy. Nope. Hes chasing me. (Szyszka 2007sp). Memento (Nolan 2000), in addition to coming across as a serial publication of fragmented scenes, is also edited so that the narrative plays out postwards. This becomes patently clear as the protagonist (Leonard Shelby) vigorously lies to himself. One could make the assumption that Leonards condition not only makes the creation of self- trickery (deception) achievable but also possibly fa tal (Szyszka 2007sp).Analysis of the narrative structure of Christopher Nolans MementoMemento (2000)is a film written and directed by Christopher Nolan (and fitting from the short story of his brother, Jonathan Nolan), revolves around memory. In the film, Leonard Shelby (Guy Pierce), is the protagonist who has lost the ability to/of forming new memories when he was violently assaulted during the rape and murder of his wife in their own home. Now suffering from short-term-memory-loss, Leonard is not able to remember, nor recognise mass even after just having interaction with them (people such as the shop clerk of the hotel where Leonard is staying). Leonard does, however, recall everything that happened in the past preceding his accident. The plot revolves around Leonards condition (as he calls it) and the determination of avenging his wifes death(He has a clear recollection of the actual murder of his wife) (Clarke 2002167).The combination of his condition and the yearning to aven ge the death of his wife requires him to eer refresh his memory, which he does by making and keeping loads of secret/ puzzling (cryptic) notes, by taking Polaroid pictures of everyone he meets (to remember them) and even breathing out so far as to tattoo the facts that leads his investigative search, on his body. Even though Leonard has all these clues, his memory is constantly fading and he has to bleed in perpetual confusion when he meets people for the first time or when he finds himself at a different location. Thus, one could say that Leonard is constantly exposed to submission (he is easily persuaded or win over). Leonards condition is so severe that he can instantly forget what he was doing or talking/thinking about. One could argue the hilarity (comical aspect) of this situation of memory loss throughout the film (Clarke 2002167-168).One such an example is when Leonard is ladder but doesnt recall why he is fadening. As he looks around, he quickly becomes aware that s omeone is running parallel/next to him, when suddenly, one can hear Leonards thoughts. He is thinking Okay, now, what am I doing? Oh, I must be chasing that guy (Clarke 2002168). The comical aspect arises when Leonard changes his course and starts to run after the unknown male, when suddenly, the unknown male points his gun at Leonard and starts chasing him (forcing Leonard to change his direction again when the gun is fired) after almost shooting Leonard (Clarke 2002168).Leonard is also constantly manipulated throughout the film, not only by his own mind, but also by the characters. Various characters (will be made clear later on) misleads Leonard due to his condition and manipulates him into doing their dirty work (Clarke 2002168).Spectacle has always been the major cogitation of entertainment, but in todays society that is mainly concerned with infotainment, spectacle and entertainment have come into the area of society, economy, politics, and existence in significant original c ustoms. build on the convention of manifestation, modern figures of entertainment stretching from Television to stage include spectacle society into their schemes, changing film, television, music, shimmer and other areas of society, as well as creating original structures of society, such as cyberspace, multimedia, virtual reality and psycho-crime Drama (Kelner, D 20034).A plot summeryLeonard Shelby had been struck in the back of the head by the rapist/murderer when trying to save his wife, which resulted Leonard to reassert severe mental and physical trauma and nearly destroyed the function of memory making entirely. After recovery, Leonard is now faced with the difficult purpose of functioning in society without any short-term memory reconciliation. Leonard is, however, able to function in society after learning to retain information through impulse (instinct) and repetition (replication) .i.e. conditioning. He does so by taking Polaroid pictures and writing short notes (infor mation) on them, thus, using the pictures to simulate short-term memory. This simulation evolves further, one could say, due to the fact that Leonard tattoos the fact of his investigation onto his person (like a bodily map of facts and clues). In a classical (post-)Marxist noir-ish style of filmmaking, Leonard is border by characters who exploit his misfortune by helping (assisting) him, misleading him, and/or achieving a little of both (Szyszka 2007sp).The narrative structureIn the film Memento (Nolan 2000) which could be perceived as a (post-) Marxist film- it is evidently clear that the film relies on gimmick ( a devise used to grab attention). The fact that one has been hailed (interpolated) into a chain of lies can be terrifying upon watching this film, however, what is more terrifying is that the lies were created by ones own need to fabricate a real narrative (Szyszka 2007sp).Just before the ending of Memento (Nolan 2000), Nolan actively places the viewer into Leonard shoes in the scene where geological fault tells Leonard the truth about the death of his wife, creating final confusion to ensure that the viewer partakes in the ikon. Nolan does so by actively ensuring that the viewer takes on the intention of detective (just like the role of Leonard Shelby) by trying to make thought of (decipher) the narrative truth. This however posts the question Does one mean the character of Leonard Shelby who constantly confesses to his unreliability? Or does one believe the character of Teddy who discloses that he had been lying to Leonard and that he, himself, is also named John G Gammell? (Szyszka 2007sp).In order to consequence this question one has to closely evaluate various scenes from the film. One of the scenes that stands out meticulously (by using flashbacks) is the scene just before the climax of the movie where Teddy informs Leonard that Sammy Jenkins (a man described by Leonard when he talks about his job where he had to investigate an insuranc e claim made by the wife of Sammy Jenkins) did in actuality, not exist. The viewer is presented with a sequence of flashbacks that changes momently which furthermore contributes to the constant confusion of who and what to believe. One thing is certain though, given that the viewer is restricted to Leonards point of view (perspective), that when Leonard makes the subtle realisation (the flashback where he injects his wife with insulin) and squats down to the floor while convincing himself that his wife didnt have diabetes that Sammy Jenkins is in fact just a fabrication in Leonards mind, thus, demo that Teddy tells a version of the truth (Szyszka 2007sp).Another scene that convinces one that Leonard is the one lying to himself, is the scene where Leonard tells the story of Sammys wife not accept that Sammys condition is real. She then goes on testing Sammy- according to Leonard- by telling him (Sammy) that it was time for her to be injected with insulin. After Sammy had injected his wife with the medicine she is still convinced that her husband is lying, so she turn back her wristwatch by 15 minutes and tells him that it was time for her to be injected with insulin (she was diabetic and relied on him to inject her even though he suffered from short-term memory loss). After repeating this passage yet again Sammys wife overdoses on insulin and dies. Sammy was then placed into a mental asylum and in the final seconds of the black-and-white scene, just before it ends as the camera is closing up on Sammy a sop up walks past the camera-obstructing the view of Sammy- and for a brief second the shot is edited so that one sees Leonard sitting in the same chair as where Sammy sat, thus, emphasising that Leonard was in fact the one who was lying to himself through conditioning his mind and ultimately fabricated the story of Sammy Jenkins (Szyszka 2007sp).One could say that in this particular scene, that Leonards memory of Sammy Jenkins is a simulation of himself in order to detach from the traumatic loss of his wife whom was raped and murdered before his very eyes.Here, the (post-) Marxist notion of neo-realism hits the most confusing plane of paranoia by making use of a protagonist who will never be able to believe himself and must constantly remind himself of where he is by leaving himself a postmodern network of clues to function in society (Szyszka 2007sp). incorporate social realityIn cinema, spectacle is presented as all of society, forming a part of the social order and as an instrument of unifying the general public, all at the same time (simultaneously). The spectacle is not a compilation of imagery, but rather a way for people to relate to one another socially, by mediation of imagery. An immense variety of obvious phenomena is explained and unified by the notion of spectacle. Measured in its own conditions, the spectacle confirms how everything should look (appearance) and confirms the nature of humanity (how military personnel sho uld live), i.e. social life, as mere appearance. However, further analysis of the truth of the spectacle depicts it as noticeable contradictions of life, since spectacle is no longer about visual aesthetic and enriched text, but rather about mainstream cinematic ideology and revenue (Debord 1967sp).ConclusionThe secure/slave dialectic is the story of the actualisation of a unified social reality. It is also an extension of the story of how the identity of the self is constituted in and through another. It is the story of desire (Diprose 199446).Even though the above mentioned buy food speaks of the female form in modern day society, one could argue that just like the master/slave dialectic, that Leonard represents the slave and everyone else that is using and deceiving him- even his mental condition- are the masters. One could make this conclusion since Leonard is the one be used and mislead (just like the typical female character is usually exploited) without his knowledge. He t hus creates, within himself, the longing (desire) to avenge his wifes death. One could thus conclude, that due to the fact that one is presented with a male protagonist, driven by loss and vengeance, in order to find closure and move on with his life, that Memento (Nolan 2000) does represent some form of unified social reality .i.e. the need to move forward. The fact that he never does move on with his life, almost contradicts the previous statement, except, the fact that Leonard is unable to realise this tragedy due to his mental trauma-paired with the fact that he is in actuality a serial killer- ensures the unified social reality (in accordance to the dominant power) that he gets what he deserves, an current struggle of redemption.Sources consultedBaraski, Z.G Short, J.R. 1985. Developing Contemporary Marxism. capital of the United Kingdom The Macmillan adjure LTD.Baudrillard, J. 1998. The Consumer clubhouse Myths and Structures. Gateshead Athenum Press Limited.Clarke, M. 200 2. The Space-Time Image the Case of Bergson, Deleuze, and Memento. The Journal of Speculative Philosophy 16(3) 167-168.Debord, G. 1967. Society of the Spectacle. O. on hand(predicate)http//www.marxists.org/reference/archive/debord/society.htmAccessed 5 October 2010Diprose, R. 1994. The bodies of woman ethics, embodiment, and sexual difference. London Routledge.Hurd, R. 2003. Christopher Nolans Memento Analysis of the narrative structure of a noirish revenge film. reputation presented at the Seminar Decadence and Modernism in Late 20th cytosine American Cinema, 23 February 2003, Johann Wolfgang Goethe-UniversityJean Baudrillard-Biography. Sa. O. Availablehttp//www.egs.edu/faculty/jean-baudrillard/biography/Accessed 2 October 2010Kelner, D. 2003. Media Spectacle. New York RoutledgeKellner, D. 2007. Jean Baudrillard. O. Availablehttp//plato.stanford.edu/entries/baudrillard/Accessed 1 October 2010Netto, J.A. 2000. Marxist film theory. O. Availablehttp//www.nettonet.org/Nettonet/Film %20Program/theory/marx-theory.htmAccesed 2 October 2010Simulacra and Simulations. 1988. O. Availablehttp//www.stanford.edu/dept/HPS/Baudrillard/Baudrillard_Simulacra.htmlAccessed 30 September 2010Szyszka, E. 2007. idea Damage Neo Noir in the Nineties. O. Availablehttp//thecinephilenewyork.blogspot.com/2007/08/brain-damage-neo-noir-in nineties.htmlAccessed 3 October 2010