Thursday, May 5, 2011
Tuesday, May 3, 2011
momento/perception
While at NOMA I visited a black and white photography exhibition entitled Residents & Visitors and I though it tied in with perception dealing with the movie Memento. It was a broad documentation of locale and focused on examination of perceived culture in Louisiana during the twentieth century. The exhibit allows the viewer to uncover a mysteriously luring element of nostalgia located in the photographs, among the range of tones; aiding this element is the uncanny effect of the overall display, consisting of the work of Native photographers alongside visiting ones. The photos mostly take place on a local level, case by case basis, thus the exhibition resonated immediately with me. I found it to be one of a kind, a fully operative piece of the past informing the viewer of an otherwise familiar place in time, of something he/she cannot know, but can experience in their own way. You see, this type of experience, that was designed with the combined effort and skill of fellow photographers, not only showcases the effective power of refine printing skills but emphasizes the power of perception. Have you ever tried to imagine early parts of the twentieth century in color? Most people are unable to do this since they have not seen it with there own eyes, the only thing they have, to go off of, is images shown to them. Moving or still, images of the early 1900’s we see today were mainly introduced by Hollywood and are in black and white. Trying to imagine 1952 in color, thus becomes virtually impossible to today’s youth. However, this effect in coordination with the emphasis on perception forced me to acknowledge, as well as, to appreciate its power in relation to reality, as a manipulation of reality. Beyond the filial relationship between the subjects in the photos, in this context, as a Resident or Visitor the photographers maintain an experiential relationship with the subject and each other. While examining these portraits collectively, they become even more mysterious. The comparison of the artist renderings and interpretations becomes unavoidable; and thus compels you to further ponder the culture and how it is encompassed in each rendering; also consider the significance of the symbolic nature between, the native human subjects among each other and the significance of the things their being depicted among seemingly become extensions of themselves as you further investigate the frame. , could it be the cleverness of the photographer, or were these people as intriguing that they seem existing in such a defined state of culture that was inescapable of the eye. Mysterious.
Can't trust anything can you?
Just because someone says MLK said it, doesn't make it so.
But is the quote any less meaningful without his name attached?
Memento
Memento
memento
Powerful & Disorienting
Monday, May 2, 2011
Memento was the perfect movie to sum up everything we have been taught this semester. Specifically, I thought it dealt with the issues of truth and manipulation in a way that was very relevant to our class. As Teddy said, “You don’t want the truth. You make up your own truth.” The idea of creating one’s own reality runs throughout the entire movie. Because Leonard cannot make new memories, he becomes the extreme example of something we are all guilty of. He is manipulated, he accept lies as reality and creates his own truth. Whether this is a good or bad thing is something I am still trying to figure out. “So you lie to yourself to be happy.” Teddy tells Leonard, “There’s nothing wrong with that. We all do it.” We may all do it, but what are the implications of lying to yourself?
Memento is an example of how failure to distinguish between truth and lies can allow you to be manipulated. Leonard is manipulated by almost every character in the film (Natalie, Teddy, even the man at the front desk of his hotel), and in Leonard’s case, those manipulating him do not have very good intentions. However, Leonard’s willingness to accept lies also allows him to live his life. Lying to himself is easier than facing the reality that his wife is gone, her killer is dead, and Leonard has nothing else to live for. I found that these two issues, manipulation and the benefit of lying, were key concepts that were found in many of the texts we analyzed this semester.
Memento
Natalie?
What I'm having trouble with is Natalie. I know she was the girlfriend of Jimmy Grant, the guy that Lenny kills before starting to track Teddy. But I don't understand why Teddy sent him to her or why she pretended to be beaten up by Dodd. What was her motive? What did she want? Anybody have any answers?
Memento. Long post, but worth the debate.
There is a reason our loyalties and emotions are sporadic with the characters. We sympathize and like Leanord when we think he is avenging his wife (yet he is still planning murder, which is usually considered a morally wrong act. Is it acceptable in this case?). Eventually we see that he chooses to live his life constantly "finding the murderer"... that is already dead. A common reaction is for the audience to be appalled that Leanord makes the decision to make himself forget that he has already killed his enemy and to continue murdering in order to give his life meaning. Some may view it as selfish. (so is this to say that no one in the audience has made a selfish decision to improve their life? Or is it different because he is murdering? Is this where the line gets drawn? Is he not entitled to a happy life? After all, Teddy is giving him bad people such as drug dealers to kill. Do the drug dealers still deserve to live even though they have probably murdered others and have sold illegal substances? Why do they deserve to live a content life while Leanord does not?) Teddy also brings in a few questions of ethics. I know that I had mixed feelings about him throughout the movie. Is he a bad person for doing drug deals and helping Leonard kill people--even while being a cop? Or is he a good person for giving this person a reason to live? He seems to have sympathy in his heart.
The movie leaves more thoughts than just, "wow... now I know what he feels like when he doesn't remember things". Yes that is a very interesting idea, but when you dig deeper, you see that it is a clever way to set up all of these questions of ethics. that is the big picture here. Seeing the scenes in reverse toys with the audience's emotions. The director feeds one situation and then piles more variables on top to complicate the emotions--creating mixed feelings. Feelings so mixed that one might feel cheated at the end. It really just comes down to one's priorities.
Don't we all do the same thing, though? We choose what we want to believe. We choose so many things that make us content with our life. We create values based off of what life presents or deals to us. The literature in this class presents us with ideas to interpret. To accept or discard. It's our choice! Janelle has been trying, I think, to show us that not only does this happen in literature and the classroom, but in everyday situations in life. It could even be a situation like Leonard's. So are we really so different from Leonard? It is common to make hypocritical decisions and 'exceptions to the rule' all the time. so where is the line drawn? does that make us bad people? Again, it is your interpretation. What do you think?