Technologies of Memory in the Arts: An Introduction

Plate, Liedeke; Smelik, A.M.

doi:10.1057/9780230239562_1

Cited by 10 publications

(11 citation statements)

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“…At the same time, the notion of memory has become even more puzzling and vague (Samuel 1994). It has been conceptualized as a technology, for instance, understood as a component of economic globalization (Plate and Smelik 2009). Considering the variety of memories, memory studies has emerged as a central point of contemporary epistemologies and a crucial part of the self-reflection within this domain of knowledge (Kattago 2015).…”

Section: Oral Memories Of the Black Mediterraneanmentioning

confidence: 99%

Dissonant Heritages and Memories in Contemporary Europe

Lähdesmäki¹,

Passerini²,

Kaasik-Krogerus³

et al. 2019

Palgrave Studies in Cultural Heritage and Conflict

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This book series explores the relationship between cultural heritage and conflict. The key themes of the series are the heritage and memory of war and conflict, contested heritage, and competing memories. The series editors seek books that analyze the dynamics of the past from the perspective of tangible and intangible remnants, spaces, and traces as well as heritage appropriations and restitutions, significations, musealizations, and mediatizations in the present. Books in the series should address topics such as the politics of heritage and conflict, identity and trauma, mourning and reconciliation, nationalism and ethnicity, diaspora and intergenerational memories, painful heritage and terrorscapes, as well as the mediated reenactments of conflicted pasts. Dr. Ihab Saloul is associate professor of cultural studies, founder and research vice-director of the Amsterdam School for Heritage, Memory and Material Culture (AHM) at University of Amsterdam. Saloul's interests include cultural memory and identity politics, narrative theory and visual analysis, conflict and trauma, Diaspora and migration as well as contemporary cultural thought in the Middle East. Professor Rob van der Laarse is research director of the Amsterdam School for Heritage, Memory and Material Culture (AHM), and Westerbork Professor of Heritage of Conflict and War at VU University Amsterdam. Van der Laarse's research focuses on (early) modern European elite and intellectual cultures, cultural landscape, heritage and identity politics, and the cultural roots and postwar memory of the Holocaust and other forms of mass violence. Dr. Britt Baillie is an Honorary Research Fellow at the Wits City Institute, University of the Witwatersrand and a founding member of the Centre for Urban Conflict Studies at the University of Cambridge. Baillie's interests include the politics of cultural heritage, urban heritage, religious heritage, living heritage, heritage as commons, and contested heritage.

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Section: Oral Memories Of the Black Mediterraneanmentioning

confidence: 99%

Dissonant Heritages and Memories in Contemporary Europe

Lähdesmäki¹,

Passerini²,

Kaasik-Krogerus³

et al. 2019

Palgrave Studies in Cultural Heritage and Conflict

View full text Add to dashboard Cite

show abstract

“…Following theories that consider cultural memory as inseparable from networks of mediated experience, Ann Rigney foregrounds new media technologies 'as an integral factor in the production of cultural memory today' (2016, p. 15). Such media, or technologies of memory (Plate and Smelik, 2009), 'operate within various symbolic systems' and 'broaden the temporal and spatial range of remembrance' (Erll, 2008, p. 12). Van Dijck takes this further to argue for 'the mutual shaping of human cognitive memory and media technologies in everyday cultural contexts ' (2007, p. 150).…”

Section: Cultural Storiesmentioning

confidence: 99%

Soundings : documentary film and the listening experience

2018

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Chapter 10 A 'Symphony of Britain at War' or the 'Rhythm of Workaday Britain'? Len Lye's When the Pie Was Opened (1941) and the musicalisation of warfare Anita Jorge Chapter 11 Building a sonic image of a nation: Finnish documentary and propaganda films in the early decades of sound film Kaarina Kilpiö Chapter 12 Raúl Ruiz's Now We're Gonna Call You Brother and the problem of the people's sonic representation

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“…4 While it would be an easy project to take issue with the particularities of the stories that Palmer tells, this article is more interested in considering All You Need Is Love as television documentary. As a "technology of memory" (Plate and Smelik 2009) the television documentary enables a particular kind of access to the historical past, one whose results are authenticated by the genre of documentary itself (Pušnik 2009, 192-93). My concern here is less to do, then, with the series' content than it is to do with thinking critically about how that content is organized in the form that this piece of TV takes, and more still to do with how the narrative and structural devices at play help to produce particular ideas about popular music.…”

Section: All You Need Is Lovementioning

confidence: 99%

Remembering Popular Music, Documentary Style

Huber

2011

Television & New Media

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Over the past forty years, a growing number of television documentaries have attempted to produce a history of Anglo-American popular music for a wide audience. This article represents an attempt to come to terms with the particularity of the popular music documentary form and the different ways in which these documentaries present themselves as authoritative public texts that circulate understandings about popular music's past. The argument is inspired by the landmark mid-1970s installment in this tradition: Tony Palmer's epic seventeen-part narrative, All You Need Is Love. While this series makes strong historical claims-in Palmer's words, it sets out to tell "nothing less than the entire history and development of popular music"-the author argues that the series is, in fact, based on the tropes and discourses of memory. Through an analysis of some of the particular formal and aesthetic characteristics of the series, this article reveals the ways in which talking and thinking about the past of popular music and its culture necessarily call on an experience of the senses that is simultaneously replayed and refracted as memory.

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Technologies of Memory in the Arts: An Introduction

Cited by 10 publications

References 0 publications

Dissonant Heritages and Memories in Contemporary Europe

Dissonant Heritages and Memories in Contemporary Europe

Soundings : documentary film and the listening experience

Remembering Popular Music, Documentary Style

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