Memento 1st Draft

spectators approach a narrative film with definite expectations. we have anticipation's that are characteristics of narrative form itself.

Todorov's theory suggests that every conventional narrative is structured to put an equilibrium at the outset which is then disrupted by some action. There is then a recognition of the disruption. There is always an attempt to repair the disruption before it ends with a reinstatement of the equilibrium. A dominant ideology of a narrative form is that the film must follow a linear pattern which flows in one direction. It informs us of a regular structure that films tend to follow. Memento has the fundamental features of this linear pattern as black and white scenes move forwardly which these shots are used for plot exposition. However the colour shots move backwards where we start with a scene which our pre-anticipations puts it at the end of the narrative form. Throughout the film the pattern of direction challenges our anticipations. The uses of flashbacks, were we see clips of Leonards wife, create the confusing nature of this narrative structure. Using flashbacks in a narrative which is already moving backwards is prone to confuse. I used an object which appears in many scenes which when written down in order of scene can be reversed to make a perfectly working narrative. This object was the car.

we often make assumptions and influences about events in a narrative.

Events in a narrative are definitely genuine and not an accident. However events have to be explained and influenced. Just showing a murder scene, out of context, with no other relevance throughout the film means you can not relate with time and space. With causes and effcts