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Which clippings match 'Circular Narrative Structure' keyword pg.1 of 1
20 JANUARY 2014

The Lake House: narrative film that exploits circular structure

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TAGS

2006across time • Alejandro Agresti • between past and presentcausality • Christopher Plummer • chronological time • circular narrative • circular narrative structure • circular narrative style • circularitycontemporary present • correspondence • David Auburn • deathdoghouse • Il Mare (2000) • Keanu Reeves • lake • letter writinglove storymailbox • melancholia • passage of time • Persuasion (Jane Austen) • plot structuresportal (science fiction)remaking film • romantic drama • Sandra Bullock • separate points in time • simultaneityspeculative fiction • The Lake House (2006) • time

CONTRIBUTOR

Simon Perkins
11 MARCH 2011

La Jetee: a science-fiction film about time, memory and history

"This is the story of a man, marked by an image from his childhood. The violent scene that upsets him, and whose meaning he was to grasp only years later, happened on the main jetty at Orly, the Paris airport, sometime before the outbreak of World War III.

Orly, Sunday. Parents used to take their children there to watch the departing planes.

On this particular Sunday, the child whose story we are telling was bound to remember the frozen sun, the setting at the end of the jetty, and a woman's face.

Nothing sorts out memories from ordinary moments. Later on they do claim remembrance when they show their scars. That face he had seen was to be the only peacetime image to survive the war. Had he really seen it? Or had he invented that tender moment to prop up the madness to come?

The sudden roar, the woman's gesture, the crumpling body, and the cries of the crowd on the jetty blurred by fear.

Later, he knew he had seen a man die.

And sometime after came the destruction of Paris. ..."

(Chris Marker, 1962)

Fig.1 [Français] Chris Marker (1962). "La Jetée", Argos Films.

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1962abandoned streetsacross timeairportapocalypse • childhood image • Chris Marker • cine-roman • circular narrative structuredeathdestruction • Etienne Becker • Helene Chatelain • history • Jean Negroni • jettyLa Jeteememory • Orly • Parisphoto filmphoto romanphotographic stillspierportal (science fiction)science-fictionsequence designspectaclespeculative fictionstill imagetimetime travel • Twelve Monkeys • visual depiction

CONTRIBUTOR

Simon Perkins
25 FEBRUARY 2011

Wild Strawberries: falling backwards through memories

Ingmar "Bergman's restless mind wouldn't even leave him to rest during a brief hospital stay, which is where he wrote the script for one of his earliest forays into the nature of age, memory and self–reflection. The core of the film had come to him the previous year while driving through his old hometown of Uppsala, past his grandmother's house. His fertile imagination wondered how it might be if he could open the door and step back into his own childhood, and from this kernel grew Wild Strawberries. In Swedish the title of Smultronstället has deeper meaning than just referring to a wild strawberry patch, it has a colloquial sense of a place invested with personal or sentimental value, often undervalued until it returns to memory in a nostalgic fashion. Which is precisely what the lead character of Isak Borg experiences throughout the film, falling backwards through his memories, attempting to make sense of his life in his final years. It's not an unusual thing for a Bergman film to be filled with casual slips between reality and dreams/memories, or to be populated with characters whose role is to aid our protagonist on his/her internal quest, but the lead character is not what we might envision in Bergman's work. Isak Borg is not a cruel man, but his self–centred cynicism and rampant egotism set him apart from the majority of other Bergman leads. But he needs to be such a vaguely unlikable character for the audience to experience the full impact of his self–realisation, dragged through a series of memories and forced to confront his continuing failures and inadequacies. A loveable, upright character would not have been able to supply so much powerful redemption in the final reel."

(Craig Andrews, Media Resource Centre)

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TAGS

195735mmacross timechildhoodchronological timecircular narrative structuredreamfilmimaginationin the mindIngmar Bergmaninternal quest • Iris Cinema • Lund Universitymemory • Mercury Cinema • nostalgiapastpersonalself-realisationself-reflection • Smultronstallet • SwedishSwedish filmmaker • Uppsala • Wild Strawberries (1957)

CONTRIBUTOR

Simon Perkins
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