Marguerite Duras's aim was to transcend the limitations of both
literature and cinema by creating what M. Borgomano has called an
écriture filmique. The most innovative and enduring of Duras's
techniques in the cinema is desynchronisation and, in particular, her use of
the voix off. She employed it in several of her films such as
India Song, Son nom de Venise dans Calcutta desert,
Césarée and Le Navire Night. Perhaps the most fundamental
impulse which underscores Duras's writing and her films is precisely
the desire to overcome divisions and oppositions. Through her reading of the
texts, she lends her voice to the protagonists' stories or even to the
protagonists themselves. Aurélia Steiner (Melbourne) and its sequel
Aurélia Steiner (Vancouver), both made in 1979, trace a young Jewish
woman's search for her identity and her origins, as she attempts to
reconnect with her parents who died in a concentration camp.
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.