The preoccupation in Marguerite Duras with questions of gender and sexuality
may be usefully theorised by drawing on ideas central to feminist
psychoanalysis. While the creation of a female counter-cinema in Nathalie
Granger enabled Duras to question dominant structures of representation,
ultimately her films went beyond the dichotomies of gender and sexuality.
Although, Nathalie Granger implicitly reproduces the conventional
constructions of gender by creating separate 'masculine' and
'feminine' spheres, it can be seen that Duras was beginning to
question and deconstruct all gender categories. In terms of feminist
psychoanalytical theory, India Song questions the categories of
gender and sexuality constructed by the patriarchal Symbolic order by
foregrounding the Imaginary. Agatha mirrors transgressive
relationship and quasi-incestuous adolescent relationship, as the film
resonates with the off-screen voices of Duras and Yann Andréa who also
appears on the image-track where he represents Agatha's anonymous
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.