<abstract xmlns="http://www.w3.org/1999/xhtml"><p>Although Christopher Nolan’s Memento (2000) has been the subject of numerous critical examinations, the unique manner in which the film’s reverse-chronological dramaturgy interweaves the spectators’ cognitive-analytical attempts to ensure causal-linear coherency together with a corporal-affective sensation of temporal loss remains underexplored. This I believe is due to the inability of prevalent narratological terms of cutting across the current divide and uniting on the same conceptual plane the cinematic spheres of the cognitive-analytical, evaluative, and interpretative, on the one hand, with the visceral, haptic, and sensory-affective, on the other hand. As an attempt to carve out a conceptual ground where these key facets of the cinematic experience can be unified in a nonhierarchical and nonreductive manner, I propose an embodied reconceptualization of the cognitive-formalist concept of the fabula. In order to do so, however, it is necessary to dispute a series of dominant assumptions about cinematic spectatorship and narrative comprehension that automatically come with this narratological concept.</p></abstract>

Although Christopher Nolan’s Memento (2000) has been the subject of numerous critical examinations, the unique manner in which the film’s reverse-chronological dramaturgy interweaves the spectators’ cognitive-analytical attempts to ensure causal-linear coherency together with a corporal-affective sensation of temporal loss remains underexplored. This I believe is due to the inability of prevalent narratological terms of cutting across the current divide and uniting on the same conceptual plane the cinematic spheres of the cognitive-analytical, evaluative, and interpretative, on the one hand, with the visceral, haptic, and sensory-affective, on the other hand. As an attempt to carve out a conceptual ground where these key facets of the cinematic experience can be unified in a nonhierarchical and nonreductive manner, I propose an embodied reconceptualization of the cognitive-formalist concept of the fabula. In order to do so, however, it is necessary to dispute a series of dominant assumptions about cinematic spectatorship and narrative comprehension that automatically come with this narratological concept.

Memento and the Embodied Fabula: Narrative Comprehension Revisited

Acta Universitatis Sapientiae, Film and Media Studies

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.

{"article-title":"Memento and the Embodied Fabula: Narrative Comprehension Revisited"}

Although Christopher Nolan’s Memento (2000) has been the subject of numerous critical examinations, the unique manner in which the film’s reverse-chronological...

Memento and the Embodied Fabula: Narrative Comprehension Revisited

Publié en ligne: 06 avr. 2016

Pages: 93 - 110

DOI: https://doi.org/10.1515/ausfm-2015-0017

Mots clés
narratology, cognitive film science, embodied cognition, film-philosophy, the embodied fabula

© 2016

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.

Memento and the Embodied Fabula: Narrative Comprehension Revisited

Publié en ligne: 06 avr. 2016

Pages: 93 - 110

DOI: https://doi.org/10.1515/ausfm-2015-0017

Mots clésnarratology, cognitive film science, embodied cognition, film-philosophy, the embodied fabula

© 2016

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.

Mots clés
narratology, cognitive film science, embodied cognition, film-philosophy, the embodied fabula