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Memories And The Formation Of Reality

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In cinema, flashbacks are interruptions that take the narrative back in time from the current point in the story. They are often used to provide background and context to recount current events of a narrative filling in crucial backstories. In its basic form, the flashback is introduced when a presented image dissolves to another image of the past, which can be either as “a story-being-told or a subjective memory.” (Turim) For example, dream sequences and memories are methods used to present flashbacks. They become a visual representation to the audience as an act of remembering past experiences of reality. Imagination also plays an important role in shaping the mind and the story, similar to memories and the formation of reality. Imagination is usually integrated into animation as an artistic creation to express the artists’ ideas or memory. But where does the use of imagination and memories stop? By examining memory represented in animation and film, through Bartlett’s theory of schema, we can see how the film develops an active organized method to distinguish reality from memory. This paper examines five films based on memory, thus arguing that imagination does not distort memory in animation, but create a role as a form of embellishment for the film to help memory. Fredrick Bartlett is a British psychologist from Cambridge University, based on his book, Remembering (1932) that focused on how people comprehend what was being remembered. The concept of schema or

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