Memento - DOC by P-TaylorFrancis

VIEWS: 72 PAGES: 5

Within a short space of time, the film Memento has already been hailed as a modern classic. Memorably narrated in reverse, from the perspective of Leonard Shelby, the film's central character, it follows Leonard's chaotic and visceral quest to discover the identity of his wife's killer and avenge her murder, despite his inability to form new long-term memories. This is the first book to explore and address the myriad philosophical questions raised by the film, concerning personal identity, free will, memory, knowledge, and action. It also explores problems in aesthetics raised by the film through its narrative structure, ontology, and genre. Beginning with a helpful introduction that places the film in context and maps out its complex structure, specially commissioned chapters examine the following topics:Memory, emotion, and self-consciousnessAgency, free will, and responsibilityPersonal identityNarrative and popular cinemaThe film genre of neo-noirMemento and multimediaIncluding annotated further reading at the end of each chapter, Memento is essential reading for students interested in philosophy and film studies.

More Info
									Memento
Philosophers on Film

Editor: Andrew Kania
Table of Contents

Introduction Andrew Kania 1. Moral Monster or Responsible Person? Memento's Leonard as a Case
Study in Defective Agency Michael McKenna 2. Leonard's System: Why Doesn't It Work? Joseph Levine
3. The Feel of the World: Exograms, Habits, and the Confusion of Types of Memory John Sutton 4. The
Value of Memory: Reflections on Memento Raymond Martin 5. Memento and Personal Identity: Do We
Have it Backwards? Richard Hanley 6. Memento and the Phenomenology of Comprehending Motion
Picture Narration Noël Carroll 7. Reconfiguring the Past: Memento and Neo-Noir Deborah Knight and
George McKnight 8. What is Memento? Ontology and Interpretation in Mainstream Film Andrew Kania
Index
Description

Within a short space of time, the film Memento has already been hailed as a modern classic. Memorably
narrated in reverse, from the perspective of Leonard Shelby, the film's central character, it follows
Leonard's chaotic and visceral quest to discover the identity of his wife's killer and avenge her murder,
despite his inability to form new long-term memories. This is the first book to explore and address the
myriad philosophical questions raised by the film, concerning personal identity, free will, memory,
knowledge, and action. It also explores problems in aesthetics raised by the film through its narrative
structure, ontology, and genre. Beginning with a helpful introduction that places the film in context and
maps out its complex structure, specially commissioned chapters examine the following topics:Memory,
emotion, and self-consciousnessAgency, free will, and responsibilityPersonal identityNarrative and
popular cinemaThe film genre of neo-noirMemento and multimediaIncluding annotated further reading at
the end of each chapter, Memento is essential reading for students interested in philosophy and film
studies.
Reviews

'A fascinating collection of essays, from a number of notable hands, on philosophical issues raised by
one of the most mind-bending of recent films, Christopher Nolan's Memento. Anyone interested in what
film might teach us about the nature of memory, self, knowledge, and narration will here find a rich source
of reflections. The essays are admirably introduced by the editor, who also provides invaluable
signposting to the structure and content of this most enigmatic of cinematic productions.



'Memento is a remarkable narrative achievement and this book of philosophical essays - more
conventional in structure than the film I'm glad to say - brings into sharp relief the ideas on persons, their
mental and moral resources, that inform the film. Kania has chosen his contributors well; here analytic
philosophy, so often portrayed as insensitive to artistic and imaginative aspirations, is very light on its
feet.



'Memento is a remarkable narrative achievement and this book of philosophical essays - more
conventional in structure than the film I'm glad to say - brings into sharp relief the ideas on persons, their
mental and moral resources, that inform the film. Kania has chosen his contributors well; here analytic
philosophy, so often portrayed as insensitive to artistic and imaginative aspirations, is very light on its
feet.

								
To top