At the time of the release of Un deux trois soleil in 1994, Blier
announced in an interview that he had begun his second career. The dramatic
and structural features of inversion and subversion established by Blier in
his earlier work are crucial to the narrative construction of Merci la
vie, Un deux trois soleil, and Mon home. It becomes clear
very early in the trilogy that Blier is deliberately reworking character
types and dramatic configurations, through a process of
'quotation' of previous characters and key images and scenes.
Blier's distinctive cinematic vision of the modern urban experience
would appear to have been concluded by the work of the trilogy. At a
relatively late stage in his career, Blier apparently left the cinema behind
and applied himself to writing for the theatre and his first play, Les
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.