Titlebook: Memory, Forgetting and the Moving Image; Caterina Albano Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 Memory studies.cul

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Caterina Albanotheory as developed after the discovery of modern axiomatic Although the ?rst decades of the 20th century saw some strong debates on set theory and the foundation of mathematics, afterwards set theory has turned into a solid branch of mathematics, indeed, so solid, that it serves as the foundation o

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d into a solid branch of mathematics, indeed, so solid, that it serves as the foundation of the whole building of mathematics. Later generations, honest to Hilbert’s dictum, “No one can chase us out of the paradise that Cantor has created for us” proved countless deep and interesting theorems and al

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Memory, Modernity and the Moving Image, of the twentieth century and the significance of the moving image in such a reconceptualization. Central to the modern redefinition of memory in psychology, psychoanalysis and culture at large is the theorization of forgetting and a grounding of the individual and her life story in memory. The chap

LAP

,Mémoir(e) and Mémoire(s), its historical formation and cultural ramifications, and questions the three components: life story, self and memory. The chapter considers the frisson between memories and life stories by examining four artworks by US artist Kerry Tribe. In her work, Tribe explores the tension between the psycholo

crease

Trauma, Latency and Amnesia,c memories and the role that a film has played in their definition and theorization. The chapter asks why the film goes unnoticed despite the acknowledgement of the studies that it supported drawing attention to transcultural articulations of amnesia and latency in globalized politics of memorializa

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Sound, Trace and Interference,re discussed in relation to cultural and transcultural models of memory. The chapter considers the memory trace as sound (an inherent component of the moving image) through the artistic practice of sound artist Bill Fontana. By translocating and broadcasting environmental atmospherics across differe

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Amnesia and the Archive, and the psychology of memory, the chapter questions the potential of rememoration afforded by the filmic archival trace as affect and emotion. The chapter focuses on the works of artists and filmmakers Lutz Becker, Yervant Gianikian and Angela Ricci Lucchi, Harun Farocki, and Eyal Sivan, whose prac

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