On the surface, memory appears to be passive experience; it is strange and often intangible. However, dive deeper it reveals that memory can leave strong impressions on individuals. Memories are moments a person lived and remembers when recounted. Memories can come in many forms. According to Jan Assmann, communicative memory is a shared and transferable within a social group defined by common memories of personal interaction. The communicative memory comprises memories related to the recent past or from a lifetime spread through verbal communication. Similar to a grandfather telling stories of his life to his grandchildren, these are what the individual shares with his contemporaries. Collective memory is as a group or community sharing a
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Collective memory describes stories, artifacts, food, drink, and many other things that connect shared groups, but in Landreth’s film, Larkin is the form of memory the ties and binds people together. Viewers see parts of Larkins past and relationships with former girlfriend Felicity, and his friend Derek as they add their own experiences. “Ryan” is a film about the shift between objective reality and the analysis of human thought in an emotional and psychological study. Larkin and his works, such as Walking (1969) and Street Musique (1972) become the link to the past that unifies the director and the others. Audience witnesses Larkin’s excitement of seeing one of his original drawings and stunned by his anger when he talks about the power of money. In the animation, the filmmaker used a 3D technique called psycho-realism, in which characters’ mental states reflect their physical appearance, as ‘rendered metaphorical representation of his own interior demons.’ However, the story is not just about Larkin’s memories, but the filmmaker’s personal memories as well. During an interview, Chris Landreth replied that he originally intended for the film to be all about …show more content…
It is through families that memories, traditions and experiences pass on through the generations. One example is the short animated film, Irinka and Sandrinka (2007) directed by Sandrine Stoianov & Jean-Charles Finck. Stoianov is interviewing her aunt Irene about their shared Russian origin, and they drink tea and reminisce about their mutual ancestors. As Irène recalls her painful childhood during the moment the ruling regime collapsed, Sandrine drifts off on daydreams two young girls experiencing the past. The postmemory is represented by the filmmaker explores her elderly aunt’s memories through animation mixing personal identities. At one point, little Sandrinka travels into a fairytale castle and stands in front of hanging portraits of her ancestors along an animated hallway. She was in awe of the own discovery of her past through her aunt, creating a hopeful scene. Paul Ward stated, “The inherent ‘subjectivity’ of animation… emphasizes the specific interventions of the animator – their ‘worldview.’” Stoianov paints the memories of her Russian aunt as well as use her imagination to reconstruct a fairy-tale Russian world, using a collage-style animation layered with photographs, archives and her own illustrations. The filmmaker mixes two separate perspectives of her aunt’s haunting past experiences with her own hopeful awe of her
Collective memory describes stories, artifacts, food, drink, and many other things that connect shared groups, but in Landreth’s film, Larkin is the form of memory the ties and binds people together. Viewers see parts of Larkins past and relationships with former girlfriend Felicity, and his friend Derek as they add their own experiences. “Ryan” is a film about the shift between objective reality and the analysis of human thought in an emotional and psychological study. Larkin and his works, such as Walking (1969) and Street Musique (1972) become the link to the past that unifies the director and the others. Audience witnesses Larkin’s excitement of seeing one of his original drawings and stunned by his anger when he talks about the power of money. In the animation, the filmmaker used a 3D technique called psycho-realism, in which characters’ mental states reflect their physical appearance, as ‘rendered metaphorical representation of his own interior demons.’ However, the story is not just about Larkin’s memories, but the filmmaker’s personal memories as well. During an interview, Chris Landreth replied that he originally intended for the film to be all about …show more content…
It is through families that memories, traditions and experiences pass on through the generations. One example is the short animated film, Irinka and Sandrinka (2007) directed by Sandrine Stoianov & Jean-Charles Finck. Stoianov is interviewing her aunt Irene about their shared Russian origin, and they drink tea and reminisce about their mutual ancestors. As Irène recalls her painful childhood during the moment the ruling regime collapsed, Sandrine drifts off on daydreams two young girls experiencing the past. The postmemory is represented by the filmmaker explores her elderly aunt’s memories through animation mixing personal identities. At one point, little Sandrinka travels into a fairytale castle and stands in front of hanging portraits of her ancestors along an animated hallway. She was in awe of the own discovery of her past through her aunt, creating a hopeful scene. Paul Ward stated, “The inherent ‘subjectivity’ of animation… emphasizes the specific interventions of the animator – their ‘worldview.’” Stoianov paints the memories of her Russian aunt as well as use her imagination to reconstruct a fairy-tale Russian world, using a collage-style animation layered with photographs, archives and her own illustrations. The filmmaker mixes two separate perspectives of her aunt’s haunting past experiences with her own hopeful awe of her