Download PDF by Claire Molloy: Memento (American Indies)

By Claire Molloy

ISBN-10: 0748637710

ISBN-13: 9780748637713

ISBN-10: 0748637737

ISBN-13: 9780748637737

This paintings introduces the movie 'Memento' as an immense self sustaining motion picture and makes use of it to discover relationships among indie, arthouse and mainstream cinemas. It additionally examines autonomous movie advertising and marketing practices. eventually it locates 'Memento' inside of debates round key movie reviews recommendations reminiscent of style and narrative. advent; 1. souvenir as self sufficient movie; 2. suggestions: Distribution, advertising, and exhibition; three. Narrative and narration; four. style; five. Reception; end

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32 Christopher Nolan, who had started making films using his father’s Super 8 camera at the age of seven, studied literature at University College London. During his undergraduate years he developed a keen interest in narrative and chronology and began to consider questions of narrative flexibility after reading Graham Swift’s novel Waterland, the structure of which shifts backwards and forwards in time. With film equipment from the university’s film society he began to make short films and made Tarantella in 1989 which was shown on Image Union, the PBS independent film and video showcase in the US.

At the same time there is a nebulous quality whereby independence can be yoked to many different practices, affiliations and products which obfuscate any simple or singular definition. In this case, it may be more useful to conceive of independence as deterritorialised from a specific mode of production and reterritorialised by particular formations and alliances, and Memento as a product of reterritorialising affiliations between global mainstreams and local substreams facilitated by the neo-liberal climate within which such constellations could occur.

The top grossing film of that year from the majors, Forrest Gump (Zemeckis, 1994, distributed by Paramount), grossed $329 million and opened on 1,595 screens, 257 screens more than Pulp Fiction, playing on 2,365 screens at its widest release. The other top grossing films of the year similarly opened on wide release, with True Lies (Cameron, 1994, distributed by Twentieth Century Fox) opening on 2,368 screens, The Santa Clause (Pasquin, 1994, distributed by Buena Vista Pictures) opening on 2,138 screens and The Flintstones (Levant, 1994, distributed by Universal Pictures) opening on 2,498 screens.

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Memento (American Indies) by Claire Molloy


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