Chapter 2 investigates in some depth Bernard Stiegler’s notion of “tertiary memory” and its implications for the industrial production of temporal objects, such as films and music. Two case studies explore Stiegler’s assertion that cinema and life converge in the temporality of consciousness, whereby the remembrance of past events—involving a process of montage akin to post-production in creating movies—is rendered as a temporal object with the help of music. The first example is Omar Naïm’s The Final Cut (2004), a sci-fi drama and critique of commercial memory that revolves around a brain implant capable of recording every sensory impression in a person’s life. After a person’s death, the complete footage is reviewed by a cutter who eliminates unsavory episodes using music to suture uplifting moments into an uplifting “rememory” video of for friends and family. The second example from Federico Fellini’s semi-documentary Intervista (1987) in which Anita Ekberg and Marcello Marcello Mastroianni watch their younger selves in clips from La dolce vita (1960). Amid the continuous stream of interlocking music from both films, the actors reliving the past in the present amplifies their experience of a paradoxical “future anterior” (Roland Barthes) which both defies and defers to death.
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