Drawing upon the work of the Amber Film and Photography Collective, this chapter explores the relationship between performance, representation and identity. It looks at how the landscape of the former Durham coalfields is simultaneously identified and embodied through a focus on both its representation and some of the practices that affect its representation, and presents two stories. One of these stories is called 'Embodied landscape' and shows how Amber's work gives form to the Durham landscape, influencing how it is experienced. 'Embodied landscape' introduces two of Amber's projects: the film Like Father and a photographic exhibition called Coalfield Stories. The second story is called 'Landscape embodied'. The two stories are written side by side to demonstrate the impact of Amber's collaboration with people and landscapes on its work and how its practices simultaneously identify (itself and) the former coalfields.
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.