Approximately one-third of the way through Abel Ferrara's 1993 film, Body Snatchers, army doctor Major Collins questions the Environmental Protection Agency (EPA) representative about the toxicity of chemicals stored on the military base. In Ferrara's adaptation, monstrous becomings have an erotic potential absent from earlier cinematic incarnations of Jack Finney's novel. Ferrara's revelation of the social and cultural logics is at work in US millennial culture. It is only fitting that the most pronounced moments of cinematic horror in Body Snatchers arise not from the fear of what one may become, but from the very act of becoming. In their increasingly spectacular representation of the narrative, social, familial and corporeal body in flux, Don Siegel, Philip Kaufman, and Ferrara's adaptations of Finney's The Body Snatchers engage historically-specific cultures in transition.
This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book considers memory as a specific framework for the study of popular film, intervening in growing debates about the status and function of memory in cultural life and discourse. It examines the relationship between official and popular history and the constitution of memory narratives in and around the production and consumption of American cinema. The book explores the political stakes of cinematic discourse in its production of national memory. It also examines the discursive and institutional apparatus that has come to support the memory of Classic Hollywood in British cultural life. The book also considers both the presence of music and colour in nostalgia films of the 1990s and the impact of digital and video technologies on the representational determinants of mediated memory.