The Cathy Caruth reading and its analysis of the Resnais film Hiroshima mon amour are interesting when studying the connection between memory and history, trauma, and how a story is composed. It brings up a lot of questions about authenticity and accuracy of history, and whether it can be reached on different paradoxical levels in art, and film. It reminds me of the idea of the unconscious as sort of a shared space, turning it inside out and no longer a deep well which we only privately share. It's a space which we all freely draw from and because of this, we are connected and/or making connections.
Here's a music video for the Scissor Sisters song "Invisible Light" that plays around with tangent imagery that somehow seems to make sense in our mind, based off rich experiences in visuals we encounter in our daily lives, in film, etc. http://vimeo.com/17444911 (probably NSFW by the way)
This sort of buildup of motion vectors within the piece always leads the audience to a new interpretation. It plays off what Eisenstein did in Battleship Potemkin. What do you think? Does this make sense when we look at these like this, as it connects to framing a narrative from memories, and our unconscious?
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