I think Tarkovksy's *The Mirror *would be worth investigating. Apparently,
he based the film all on his own personal memories. What impressed me most
about the film was that the narrative was just as flawed as memory itself
is. For instance, the same actors will play different characters that span
several generations...all without any explanation. The film can be
confusing if you're looking for a plot or narrative thread, but I think it
accurately captures the way in which memory melds facts, dreams and
sensation together. At any rate it is very beautiful to see and experience.


On Sat, Jun 8, 2013 at 1:49 PM, Chuck Kleinhans

>  There might be a problem with the term "Proustian" being too vague and
> broad here.
>  A lot of films work with questions of memory, and also the related
> concept of nostalgia.  Often this is a narrative element, and sometimes
> dramatized by the presence of media of some kind: thus Rear Window (camera,
> framing, what was seen, what was off screen  but inferred, etc.).  There's
> also a couple of good examples in Antonioni's Blow Up and De Palma's Blow
> Out (can we know/trust what was "recorded"?).
>  But we also have matters of implanted memories (hypnosis, and false
> memories such as the robots in Blade Runner or various characters in
> cyberpunk, The 13th Floor, etc.). Or matters of doubt (Gaslight genre--is
> my husband trying to kill me?, etc.) and amnesia stories. Or imaginative
> memories (Forrest Gump; Zelig).  And aren't films that use historical
> footage, be they  fiction or documentary, also playing with time and memory?
>  To think about this further, it might be useful to try to distinguish
> how different narrative tropes deal with memory/time/image and how
> different visual/audio tropes present different possibilities.
>  On the theory end, I'm surprised no one has mentioned Bergson and
> Deleuze, both very fashionable for thinking about time and media right now
> (but they might be forgotten by the time you read this).
>  Chuck Kleinhans
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