images. From an art historical perspective, photography can be
regarded as the most instructive model of technical synthesis. It
draws together several features which – partially stretching
back into the mythic beginnings of our culturalmemory −
point towards the realisation of the dream of the self-replicating
image. It is here that the connections with our actual topic lie
Theatre Research), 2001. http://journals.cambridge.org , accessed 23 August
Taylor, Diana, The Archive and the
Repertoire: Performing CulturalMemory in the Americas
(Durham, NC: Duke University Press) 2003. http
, meticulously researched account of changing spaces of film consumption in Nottingham: questionable for its diminished interest in films themselves, but a major contribution to audience studies.
Klinger, Barbara (2006), Beyond the Multiplex: Cinema, New Technologies, and the Home (Berkeley: University of California Press).
Important study of what is now, in many nations, the principal site of film consumption; avoids both a morbidly pessimistic and an uncritically celebratory tone.
Kuhn, Annette (2002), An Everyday Magic: Cinema and CulturalMemory
film consumption. An exemplary contribution here is made by Annette Kuhn in An Everyday Magic: Cinema and CulturalMemory ( 2002 ), which recalls the tumultuous soundscapes of prewar matinées in Britain when, in addition to noises emanating from the screen, the watching children would crack open peanuts or stamp clog-covered feet on bare wooden floors. Besides movingly retrieving the detail of ordinary lives often ignored by scholarship, Kuhn’s account also remodels film reception so that it is understood less as passive textual absorption and more as an
such images. Timothy Clark puts it well: ‘This is the planet as the human archive, foundation of all culturalmemory, the fragile material matrix of all inscription, self-relation and commemoration.’ 2 From the introductory textbooks to the specialist literatures of art history, chapter headings, indexes and bibliographies weigh heavy with references to a vast range of topics, themes and positions – yet often they are virtually bereft of explicit discussions of the environment, ecology and green thinking. Though normative treatments of ‘landscape’ and ‘nature’ of
every individual’s unique relation to a lived life, and of the ways our traditions and cultural forms continuously assign common meaning to disparate memories.’ 25
The second concern shared by historians is Halbwachs’ reification of collective memory and neglect of the processes of negotiation and contestation that invariably accompany group mnemonic activities. As a consequence, other terms are often used instead of ‘collective memory’, and you may encounter ‘mnemonic practices’, ‘culturalmemory’, ‘theatres of memory’, ‘sites of memory’, ‘social remembering
Houts, A Companion to the Anglo-Norman World (Woodbridge: Boydell, 2003), pp. 215–53.
Pohl, B., Dudo of St Quentin’s Historia Normannorum: Tradition, Innovation and Memory (Woodbridge: York Medieval Press, 2015).
Pohl, B., ‘Keeping it in the family: re-reading Anglo-Norman historiography in the face of culturalmemory, tradition and heritage’, in S. Burkhardt and T. Foerster (eds), Norman Tradition and Transcultural Heritage: Exchange of Cultures in the ‘Norman’ Peripheries of Medieval Europe (Farnham: Ashgate, 2013), pp. 219–52.
Potts, C., ‘Atque unum ex
. And this mode of description facilitates the re-use of the various elements of this aesthetic by eighteenth-century architects as the printed reconstruction enables its physical reconstruction, or re-performance to make it real again. In this way, the printed images of The Tower, like the reconstructions of ancient Roman architecture, encouraged an invented culturalmemory that reconfigured the relationship between past and present as the past. Indeed, in 1760, before the publication of The Antiquities , Stuart recreated The Tower in the grounds of Shugborough for