By Garde-Hansen, Joanne

How will we depend upon media for remembering? In exploring the complicated ways in which media converge to help our wish to trap, shop and retrieve thoughts, this textbook deals analyses of representations of memorable occasions, media instruments for remembering and forgetting, media applied sciences for archiving and the function of media manufacturers in making stories. Theories of reminiscence and media are lined along an obtainable diversity of case reports targeting reminiscence on the subject of radio, tv, pop song, big name, electronic media and cell phones. Ethnographic and creation tradition study, together with interviews with participants of the general public and execs, can be incorporated. supplying a finished creation to the connections and disconnections within the research of media and reminiscence, this is often the proper textbook for media reviews scholars

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This sounds complicated but put simply Bergson argued that you unconsciously give yourself the impression that your memory-images are remade from a store of memory-images and this orientates you in time, with a past, a present and future. It is the creativity and experientialism of this conceptualisation that is useful for media studies. Bergson’s ideas become interesting for arts and media studies at the point at which he thinks about memory in terms of space rather than time. Here is a question that would fascinate Bergson and, some might argue, drives our desire to archive our lives: where are all the memories you cannot recall that are not useful at this present moment?

As part of the affective domain, personal memory provides a rich seam of research material for media producers. As a television audience we observe celebrities emotionally encounter their personal and family memories in successful television shows such as Who Do You Think You Are? These celebrities enact (and promote) the kinds of personal memory work that private individuals already undertake through genealogical research. Thus the ‘memory boom’ (Huyssen 2003a) in family history research has seen Who Do You Think You Are?

It is the creativity and experientialism of this conceptualisation that is useful for media studies. Bergson’s ideas become interesting for arts and media studies at the point at which he thinks about memory in terms of space rather than time. Here is a question that would fascinate Bergson and, some might argue, drives our desire to archive our lives: where are all the memories you cannot recall that are not useful at this present moment? What if you could experience all of your past at all times as ‘pure memory’ (Bergson [1896] 1991: 106), not just the bits you are selecting in the present moment?

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