Might be worth looking at Carné's 1939 'Le jour se lève' - excellent example
of flashbacks used to figure cognitive processes as well as for narrative
purposes.
Ann Miller
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>From: "[log in to unmask]" <[log in to unmask]>
>To: [log in to unmask]
>Subject: Ri:Re: flashback (answer to Aaron)
>Date: Thu, Nov 22, 2001, 9:03
>
> Thanks Aaron
>
> Yes you've got the point.
>
> Point blank is one of my point of reference, but not the starting point.
>
> Flashback on roeg (or in the boorman's movie) has a structure that move
> apparently from the "narrative" structure of flashback and arrive to a more
> complex structure that implies cognitive process and other things.
>
> The points that you sign are in part, the word i'd like to do.
>
> My starting point are some Ulmer noir ( the most (in)famous), like "strange
> illusion" or "murder is my beat".
>
> Ulmer use flashback, like other "noir" directors, but for many reasons he
> use the "form" in a non-classical way. He prefrs gaps, and disfunction of
time.
>
> ROeg (in a totally different context) use sometimes noir like an excuse to
> make explode the plot. He is not interested in re-collected the pieces, but
> in the fragments of time that you can organize forward, reversal in time,
> or (and is the most interesting thing) "reversal" (and forward) in the future.
>
>
> What i'm looking for is probably what you point in your mail.
>
> I'm lloking some "ideas" to built a sort of vojage through flashback form,
> but not in an historycal, evolutive way. (i dont know, like: flashback from
> ulmer to roeg). but in a structural way.
>
> I don't know if exist in other fields a study about flashback (narrative,
> philosophic, science...for example some contributes arrive from cognitive
> sciences...concepts like "qualia" but i think is a matter tooooo far from
> the question)
>
> I'm like something similar to Maureen Turim Book. I like very much
> "flashback on film" bat it has an historical approach that is not my
> principal interest.
>
> thanks so much Aaron
>
> i'd like to continue this connection to exchange idea and to acquire advice
> and strategies form you and other interested in this list.
>
> thanks again
>
>
> Michele
>> Hi:
>>
>> You might be better off just looking at flashbacks in
>> terms of narrative form and viewer understanding.
>> Understanding a flashback requires some rather
>> sophisticated work on the the part of the audience.
>>
>> Just how does one piece together a narrative
>> interspersed with flashbacks? (This could take you
>> out of film specific subject matter if you relate it
>> to some broader patterns of narrative understanding
>> and experience.)
>>
>> How does one know a flashback? What are the ways of
>> indicating that we are entering or leaving a
>> flashback? Why do they take these forms? What exactly
>> counts as a flashback, are there necessary and
>> sufficient conditions? Some of "Don't look know" is
>> questionably a flashback . . . Is the structure of
>> "Point Blank," as I've suggested, a highly developed
>> flashback structure, or is the use of repetition and
>> memory something else.
>>
>> Any of these topics is enough. Actually, I may try
>> something myself . . .
>>
>> What question exactly are you trying to answer? You
>> may be better off exploring work on narrative theory
>> and doing something original without too much
>> theoretical baggage.
>>
>> Aaron
>>
>>
>>
>>
>>
>>
>> =====
>> Aaron Smuts
>> 512.480.0377
>>
>> __________________________________________________
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