Professors' Feedback: I'm Not Sure What You Mean By Depictio

Professors Feedbackim Not Sure What You Mean By Depiction Flashbac

Professor's feedback: I'm not sure what you mean by depiction, flashback, and narration interposition. These are not terms we have discussed in class, and, at least as far as I can understand how you are using them, they don't seem to explain the different sections of the film that you are describing. In terms of your second paragraph, I think you are using "montage" incorrectly -- there aren't montage sequences in the film. I'm not sure what you mean by a Philippine lens. In your third and fourth paragraphs, you are right that the film creates curiosity and suspense through its narration, and that there is an inversion of cause and effect.

This is due to the color scenes moving in reverse chronological order from the end of the film's story while the black and white scenes move chronologically forward from the earliest point in the story. It's true that limiting the viewer to Leonard's perspective makes the eventual revelation about the Sammy Jankis story surprising, but you should be more specific in discussing restricted narration here. I think that you are struggling with some of the terms and concepts from class. Please be sure to do the reading and watch the video lectures. I would suggest that we meet to help you with your work.

Paper For Above instruction

The review of the film's narrative structure and thematic elements highlights some challenges and misunderstandings related to critical film terminology and conceptual frameworks, indicating the importance of precise language and comprehensive understanding in film analysis. This essay aims to clarify key concepts such as depiction, flashback, montage, and restricted narration, and to demonstrate their relevance in analyzing the specific film discussed, likely "Memento" by Christopher Nolan.

Academics and film theorists have long emphasized the importance of accurate terminology when analyzing cinematic techniques and narrative devices. The term "depiction" generally refers to how visual and narrative elements represent characters, settings, or themes within a film. It involves the visual style, mise-en-scène, and symbolism used to create meaning. "Flashback," on the other hand, is a specific narrative device used to present events from the past within the chronological flow of the story, often to provide context or deepen character development. "Narration interposition" is less commonly used but can refer to the narrative layer that overlays or disrupts the chronological sequence to manipulate viewer perception, often involving voice-over or subjective camera work.

The critique suggests that some of these terms are not explicitly discussed within current coursework, yet they are crucial to analyzing the film's structure. Particularly, the use of "flashback" must be distinguished from other forms of non-linear storytelling, such as reverse sequences or parallel narratives. In Christopher Nolan's "Memento," the film employs a complex narrative structure where scenes are presented in a reverse chronological order in color, gradually revealing the ending, while black-and-white sequences proceed chronologically to provide necessary background information. This duality creates a layered experience, engaging viewers in deciphering cause and effect, and accentuating the protagonist Leonard's fragmented memory.

Regarding montage, the professor notes that the film does not feature montage sequences in the traditional sense— a series of rapid cuts used to condense time or create emotional impact. Instead, Nolan employs a non-linear narrative that might be misunderstood as montage. The usage of "Philippine lens" seems to refer to a particular cultural perspective or lens through which the film is analyzed, but without clarification, it remains ambiguous. For a comprehensive analysis, it is necessary to explicitly define such terms or avoid ambiguous references.

The discussion about restricted narration pertains to the concept of the "limited perspective" or "subjective narration" that confines the viewer's understanding to the protagonist's point of view. In "Memento," Leonard's subjective perspective shapes the narrative, leading to a revelation that is surprising because only certain information is accessible at any given time. This is a textbook example of restricted or limited narration, which creates tension and curiosity by withholding key facts until the appropriate moment. The film's unique structure, with scenes moving backward and forward, amplifies this effect, making the audience experience Leonard's confusion and disorientation.

In conclusion, a precise understanding of film terminology and conceptual frameworks significantly enhances analytic clarity. The terminology of depiction, flashback, montage, and restricted narration ought to be accurately employed and clearly defined within the context of a specific film. "Memento" exemplifies how complex narrative devices, when combined with restricted perspective and innovative sequencing, can create a compelling and suspenseful viewer experience. To improve future analyses, it is recommended to thoroughly engage with class readings and lectures, and consider seeking further guidance to deepen understanding of these theoretical concepts.

References

• Bordwell, D., & Thompson, K. (2019). Film Art: An Introduction. McGraw-Hill Education.
• Naremore, J. (2016). Film Acting: The Composition of Body and Voice. University of California Press.
• Nolan, C. (2000). Memento. Warner Bros.
• Prince, S. (2014). A Century of Cinema: Art and History. Routledge.
• Thompson, K., & Bordwell, D. (2020). Film History: An Introduction. McGraw-Hill Education.
• Vinci, M. (2018). Film Narratology: Narrative Analysis and Film Theory. Routledge.
• Monaco, J. (2011). How to Read a Film: Movies, Media, and Beyond. Oxford University Press.
• Salt, B. (2011). Film Style and Technology: History and Analysis. Routledge.
• Chion, M. (1994). Audio-Vision: Sound on Screen. Columbia University Press.
• Lapsley, R., & Westlake, M. (2010). Film Theory: An Introduction. Manchester University Press.