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Bild- und Medienreflexion in Memento und Rear Window: Ein filmanalytischer Vergleich

Bild- und Medienreflexion in Memento und Rear Window: Ein filmanalytischer Vergleich

          
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About the Book

Studienarbeit aus dem Jahr 2010 im Fachbereich Filmwissenschaft, Note: 1,0, Freie Universität Berlin (Theaterwissenschaft), Veranstaltung: Filmgeschichte, Sprache: Deutsch, Abstract: Memory can change the shape of a room; it can change the color of a car. And memories can be distorted. They're just an interpretation, they're not a record, and they're irrelevant if you have the facts heißt es am Ende von Christopher Nolans Film Memento. Oder anders gesagt: am Anfang der Geschichte. Nolans Plot um den Versicherungsagenten Leonard Shelby (Guy Pierce), der neue Eindrücke nicht länger als fünfzehn Minuten in seinem Kopf speichern kann, kreist nicht nur inhaltlich um die Thematik des Erinnerns und Vergessens, sondern verhandelt Zusammenhänge zwischen Gedächtnis, Narration und medialer Vermittlung auf einer dem Film eingeschriebene bild- und medienflexiven Ebene. Memento verweigert sich dabei einer linearen Erzählweise. Spannung wird nicht unter der Perspektive des möglichen Ausganges der Geschichte aufgebaut, sondern indem die kausalen Zusammenhänge bereits finalisierter Taten peu a peu aufgedeckt werden: Überlegungen hinsichtlich des möglichen Ausganges des Geschehens treten also zu Gunsten der Frage "Wie konnte es dazu kommen?" in den Hintergrund. 46 Jahre vor Memento erschien Alfred Hitchcocks Film Rear WIndow. Die Diskussion und Rezeption dieses modernen Klassikers ist manigfaltig, was allein das Unmaß an Sekundärliteratur unterstreicht, welche über Hitchcocks Werk publiziert wurde. Michael Diers spricht Rear Window die gleiche medienreflexive Ebene zu, die eingangs bereits Christopher Nolans Film unterstellt habe. Er charakterisiert Das Fenster zum Hof als einen "filmischen Versuch über das Filmemachen", als einen "Essay über Fragen von Blick und Bild, Bild und Medium sowie Medium und Publikum"1. Dieses knappe halbe Jahrhundert, das beide Filme voneinander trennt, ist zugleich Teil einer Diskursgeschichte über die theoretische Positionierung des Bildes, über das R


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Product Details
  • ISBN-13: 9783656180838
  • Publisher: Grin Publishing
  • Binding: Paperback
  • Language: German
  • Returnable: N
  • Spine Width: 3 mm
  • Weight: 82 gr
  • ISBN-10: 3656180830
  • Publisher Date: 02 May 2012
  • Height: 210 mm
  • No of Pages: 52
  • Series Title: German
  • Sub Title: Ein filmanalytischer Vergleich
  • Width: 148 mm


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