Abstract
The conclusion considers the insights gained from the investigation of five mnemonic modes in contemporary artists’ moving image. Firstly, the selected artworks give material substance to the virtuality of memory. Secondly, memory is shown to operate in relation to forgetting and the navigation of disavowed ‘hauntings’ of memory. Thirdly, the ethico-political dimension of memory becomes evident in the documentary fiction mode, where ‘real fictions’ contend with a ‘post-truth’ era of ‘alternative facts’. Finally, this study marks a paradigmatic shift from film as the dominant media of memory to new forms of mediatized memory.
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Durcan, S. (2021). Conclusion: ‘Inconsolable Memory’. In: Memory and Intermediality in Artists’ Moving Image. Experimental Film and Artists’ Moving Image. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-47396-9_8
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DOI: https://doi.org/10.1007/978-3-030-47396-9_8
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