=Paper=
{{Paper
|id=Vol-499/paper-8
|storemode=property
|title=Drawn from Memory: Reminiscing, Narrative and the Visual Image
|pdfUrl=https://ceur-ws.org/Vol-499/paper08-Wright.pdf
|volume=Vol-499
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==Drawn from Memory: Reminiscing, Narrative and the Visual Image==
https://ceur-ws.org/Vol-499/paper08-Wright.pdf
Drawn from Memory: reminiscing, narrative and the visual
image
Terence Wright
University of Ulster
York Street
Belfast BT15 1ED
+44 (0)28 90267320
t.wright@ulster.ac.uk
ABSTRACT 1. INTRODUCTION
A brief review of Marcel Proust’s views on art, photography and
memory, as expressed in his À la recherche du temps perdu In his À la recherche du temps perdu (usually translated as In
(1913-27), sets the scene for a discussion of the value of Search of Lost Time or Remembrance of Things Past), the aroma
photographs as triggers for reminiscing as well as scope and exuded by a madeleine (a small cake) when dipped into tea takes
limitations for computer-based visual narratives. The paper is Marcel Proust’s (semi-autobiographical) narrator back to thoughts
illustrated by three short video interviews with inhabitants of the and memories of his early childhood [1]. This well-known episode
Czech Republic and the Republic of Ireland. Each clip was shot as has almost become something of a cliché in studies of literature
part of interactive flexible narrative programmes: “NM2: New and is often cited as a popular reference to reminiscing.
Media for a New Millennium” a practice-based research project Nevertheless, Proust’s Madeleine not only forms a literary
partially funded by the EC or a FUSION cross-border creative and landmark, but would appear to be a natural starting point for
digital media economic development project, funded as part of the anyone interested in the narration of memory in the modern era.
Northern Ireland Peace Process. The clips demonstrate a range of Although the ‘casual reader’ might assume that À la recherche du
different approaches to reminiscing. They include personal temps perdu “consists of nothing more than page upon page of
reminisces, social memory and a diachronic method of relating the recollected details … Proust does more than just recount his past,
past. The interviews form the basis for a discussion about the role he also observes his memory in action, and uses these
of the visual image serving as a stimulus for reminiscing. For observations to develop a comprehensive theory of conscious
example we shall consider how personal memory relates to experience and artistic creation that potentially has profound
cultural memory, how the ‘objects of memory’ can be drawn upon implications for any scientific theory of consciousness” (Epstein
and how they are recounted. Thus the function of photographic- 2004:214).
based images as memory aids, or as stimuli for reminiscing, is Proust’s recollections are presented in a self-reflexive mode of
placed in the context of the narratives that can be constructed narration which allows him to examine and evaluate his own
around the image. The paper questions the role that photographic processes of writing. So while the madeleine episode provides a
images have in the formation and reinforcement of personal and famous example of how a simple everyday act can trigger a train
social identity. In such cases memory does not necessarily need to of reminiscences of former times, the novel traces the author’s
be based on events that have been directly experienced. growing realisation of the value of recording his memories in
literary form – in fact, as readers, we come to realise that the very
book that we are reading is the product of these musings. Yet
Keywords further, according to Proust, everyone is capable of producing art
Interactive documentary; Proust; memory; photography; narrative; that functions by communicating our life experiences and making
photo-elicitation; Interactive Village; Czech Republic. them understandable to others. As Epstein (2004: 213) elaborates
“Proust argues that the function of art is to evoke the underlying
associative network indirectly in the mind of the observer by
using carefully chosen sensory surfaces to control the stream of
thought.” [2] Proust himself cites examples from the visual arts,
literature and music in order to demonstrate that art is inextricably
. linked to memory and experience. [3] [4] Thus À la recherche du
temps perdu furnishes the author with the opportunity to expound
his own aesthetic theories through his literary characterisation.
Given Proust’s interest in memory, one would naturally expect
that photographs would play an important role in serving as
‘triggers’ for reminiscing. However, according to Susan Sontag,
Proust’s aesthetics did not extend to the realm of lens-based
media:
37
“Whenever Proust mentions photographs, he does so art, electronic literature, and video games” Montfort 2007: 172
disparagingly: as a synonym for a shallow, too exclusively visual, [11]
merely voluntary relation to the past, whose yield is insignificant
compared with the deep discoveries to be made by responding to With this type of sentiment in mind, The Interactive Village: a
cues given by all the senses—the technique he called ‘involuntary prototype production using interactive multimedia tools, was
memory’.” [5] developed as part of the European research project NM2 (New
Media for a New Millennium). [12] The production, which offers
In contrast Brassaï, in his study Proust in the Power of
a documentary profile of the Czech village Dolní Roveň, allows
Photography, makes a convincing case for photographs and
users to piece together an individual viewing narrative based on
Proust’s knowledge of photography as forming a major influence
their own interests and choices. These can be selected through
upon his literary style as well as serving a personal need: “my
interaction with the user interface, which facilitates navigation
memory … has such lapses that photographs are very precious to
through the village to meet the inhabitants and to determine
me. I keep them as a sort of reinforcement and do not look at them
subject and depth of the information. As such the project can be
too often in order not to exhaust their powers” [6]
seen to echo Proust’s notions of communicating life experiences
Certainly, Proust’s regard for photography and film might appear to make them understandable to others, as well as experimenting
somewhat contradictory. This leads Danius (2002: 119) to with new modes of visual representation and storytelling afforded
conclude: “the narrator needs photography for his theory of by new technologies.
memory; photography is mobilized precisely for us to understand
the true nature of memory – by way of that which it is not. The The documentary approach taken in Interactive Village is based
same is true of cinematography; it, too, is posited as alien to on the belief that the ‘documentary’ genre can “give voice to
mnemonic processes.” [7] those, generally outside established elites, who were able to speak
to the nature of daily life in a particularly compelling manner”
Naturally Proust’s “madeleine effect” constitutes part of the [13] intends to address “human interest” stories. Its purpose is not
reading process. “Just as the taste and smell of a piece of to offer a programme formula as such, rather to test out a variety
madeleine dipped into a cup of tea took Marcel Proust back to the of strategies that could be easily adapted to future programming
village of his childhood, a single word, a name, or an image is scenarios.[14] One such scenario (currently under discussion) is
often all the reader needs to be transported into a cherished that of enabling older people to use interactive technologies for
landscape – or into an initially hated one that grew close to the the purpose of reminiscing.
heart with the passing of time” [8] And although Proust himself
maintains that “Nothing is further from what we have really We (the producers) had visited the village on a regular basis over
perceived than the vision that cinematography presents” (Danius a period of 2 years and worked in close collaboration with
p. 119), a type of ‘madeleine device’ has entered the cinematic anthropologists from the University of Pardubice in order to
narrative. For instance, in the opening scenes of Victor Erice’s El identify and collect relevant information. This included shooting
Sur[9] Estrella (the young protagonist) removes the lid from a of video material, establishing shots, archive images (still
small black box and draws out a small chain and pendulum that photographs and, in some instances, paintings made by local
belonged to her father. For her this action constitutes a ‘madeleine children), video diaries and cut-away details. It was always
moment’; for the viewer, it is a precursory metaphor: opening and evident that its significance would not be fully realised without
unthreading the narrative chain of Estrella’s story which we are allowing the user to navigate in the village. This not only mirrored
about to witness on screen. This kind of ‘embedded’ narrative the exploratory nature of the filming process, but developed a
device has become a common feature of modern literature and has virtual landscape in which the viewer could explore the village. In
specific relevance to the Irish style of storytelling “The closed the gathering of material for the production, rather than shooting a
book is opened; something potent enough to keep under lock and definitive storyline (or storylines), we found ourselves looking for
key is released. It is a recurring motif in nineteenth century “narrative potentials” in the style of the early stages of
historical novels, and closely related to the Irish approach to investigative journalism - bearing in mind it is a ‘story’ that does
narrative” [10] (Foster 2001:3) not have to be finally “written-up” in a definitive manner.
Danius (echoing Brassaï: an eminent photographer) maintains that Consequently it is up to the users to develop the narrative building
“photographic modes of representation are fundamental to the blocks provided by the media tools into the “story” of their own
success of Proust’s visual aesthetics.” (p. 94) yet furthermore “the choice. The “shapeshift” production tools, developed by the NM2
narrator alludes to the emergent crisis of art triggered by the project, provided the ideal environment for making such a user-
advent of new media” (p. 121). Thus, we find in À la recherche navigable production. [15] To cite one example, viewers can
du temps perdu, the recurring interlinked themes of memory and choose the character who narrates the ethnography. They can opt
reminiscence, theories of art, self-reflexive narrativity, lens-based for an ‘unofficial’ view of the village from Mr Zevl, the
media and a coming to terms with new technology. In our present newsagent or the ‘official’ view of the mayor, Mrs Vinarova.
era (ninety years or so after the publication of the novel) many of However the users may prefer the expert ‘outsider’s’ view and
the issues raised by Proust remain specially relevant to the field of select anthropologist Peter Skalník who comments on recent
interactive storytelling and the visualisation of memory. social and political change. Or, yet another view of the village can
be selected, perhaps from a female anthropologist. In this case,
Hana Novotná can present a different perspective and considers
2. THE INTERACTIVE VILLAGE the central role of Mr Zevl in the village community.
“The computer can be used to extend or demolish traditional The Interactive Village production offers a new kind of formula to
narrative concepts in all sorts of ways, but its ability to combine existing documentary genres, offering a range of unique
narration and simulation has been particularly significant in digital interactive experiences on a sliding scale from news headline
38
presentation to in-depth documentary or from automatic this case the “stimulating objects” were not called for by the
presentation to user-explored/contributed ethnography. Each researchers but were volunteered and sought out by the
configuration provides a personalised interactive experience, interviewee. (see Geffroy next section).
where the source sequences are configured seamlessly in real time One of the advantages of a sustained study, as opposed to the
to suit the personal wishes and needs of engagers. documentary ‘snapshot’ of the synchronic approach, is that
Had money and time permitted, a further development of The change can be documented as it happens. Besides major structural
Interactive Village would have included a facility for villagers changes (as the ongoing road improvements that took place
adding their own video diaries so that they could create and access throughout the village during the process of the filming), personal
family and local histories. Although we were unable to realise this changes occurred in the lives of individuals. In the case of Mr.
facility in practice, the potential for personalized reminiscences Zevl, the village newsagent, when filming started in 2003, he ran
can be found in the interviews with Mr Vobratilek, the chief a thriving business that not only proved a viable commercial
fireman, of the Litetiny fire brigade and Mr Zevl, the village enterprise, but was the unofficial centre of the village. Situated
newsagent. next to the railway station, it fulfilled a vital social role attracting
daily visits from most of the village characters and the gossip that
accompanied them.
Figure 1 Mr. Vobratilek Litetiny Fire Brigade
Figure 3 Mr Zevl, newsagent, 2004
Figure 2 Mr. Vobratilek Use of ‘official’ records
Not only does Vobratilek’s interview show the importance of Figure 4 Mr Zevl interviewed 2007
records and memorabilia in his acts of reminiscing, but also a Towards the conclusion of the NM2 research project, Mr. Zevl
sense of nostalgia for earlier eras. He hints at a kind of nostalgia had given up the business. He was interviewed again in 2007
for periods of Czech domination by the Austro-Hungarian Empire which gave him the opportunity to reflect on the changes in his
as well as that of the Communist period when traditions were life, reminisce on times passed and explain the reasons for his
maintained and life was considered to be better ordered. [16] In decision to quit. A man well into his 70s, he admitted “I was
39
simply exhausted … owing to my state of health, it wasn’t good”. apparent in Liam Reilly’s account of some of the “myths”
Having already seen himself on screen describing an earlier surrounding the history of the Drogheda railway viaduct (Fig. 5).
period of his life provided the context and structure for his Thus the historian, in her concern for what actually happened,
narrative. More controversially, his acquired knowledge of the may be concerned with taking a ‘forensic’ approach to the
editing style may have influenced the way he tells the story and photograph - different to that of the anthropologist who may be
his delivery through an (unconscious) wish to conform to the interested in how the present-day subject thinks about the past. In
perceived format of the production. Nonetheless the combined such instances inaccuracies and embellishments may be especially
interviews do provide a useful basis for self-reflexive narratives relevant. As an example of the historian’s unease, Jordanova (p.
that can invite the participation of the interviewee as eliciting the 93) expresses her doubts regarding the ‘documentary’ nature of
contribution of others. In this context, the closure of small Walker Evans’s photographs of the American Depression of the
businesses run by the recently retired may be a common European 1930s “given that they are intensely personal, what generalised
experience with significant personal and social implications. insights can be derived from them is unclear. And yet they do
convey something extremely significant at an emotional level, so
3. ELICITATION much so that ‘the depression’ and some kinds of documentary
“On the surface, photo-elicitation is a straightforward method to photography have become virtually synonymous.” Buteven for the
understand and utilize. It involves using photographs to invoke historian there is value in this stirring of emotions “Interviews
comments, memory and discussion in the course of a semi- often pick up dimensions of the past, the way people felt, which
structured interview.” Marcus Banks [17] are not dependent on the literal exactitude of their memories”
Naturally, photography and film have undergone dramatic Jordanova 124. Jordanova continues by citing the “mêlée”
technological and social changes over the 100 years or so since surrounding the troubled relationship between memories and the
Proust’s era. And despite his position that “photography and film history of the Holocaust: “there are a number of conflicting
are … deficient techniques for mnemonic storage and visual perspectives, and the conflicts are not only about what did or did
mimesis” (Danius p. 118), the anthropologist Marcus Banks not happen, but how such events should be written about, who has
points out the value in using photographs and film footage in the right to do so, whether historians should assign blame, and so
stimulating memory. He suggests there is an added benefit in that on” (Jordanova p. 125)
the visual image deflects attention way from the interviewee, However, in the context of older people reminiscing the ‘quality’
perhaps making him or her more comfortable and relaxed by not of the recollection does not necessarily reside in historical
feeling to be the centre of attention. Geffroy, takes this a step accuracy nor that the interviewee is representative of a wider
further and cites an example where the interviewers deflection of sociological group, it is more in its communicative ability. So we
attention to photographs led his subject to ‘volunteer’ visual need to consider how the role of narrativity might function in this
images “She went and opened the doors of an old wall cupboard process. There is the classic literary definition between story and
from which she brought out a large cardboard box, full of narrative: the story being a chronological sequence of events; in
photographs, old photographs” p. 374 [18] contrast to the ‘narrative discourse’ which is the story as put into a
narrative. So the story of my travel to Cambridge could be put
into a narrative of my choice (depending where I decide to start
and finish relating), or into a different narrative by my travelling
companion (according to her choices and perspectives). So while I
may decide to omit the coffee-buying and spilling event at Kings
Cross Station from my travelogue type narrative, my companion
may consider it to be central to her comic narrative.
So in terms of reminiscing we should be facilitating reminiscers’
ability to produce the kind of narrative that they find satisfactory.
And although our life stories do not become narratives until
structured by a narrator, culture tends to impose a kind of
narrative structure on life. Certainly life itself has a beginning and
an end and while culture marks these passages ceremonially
(christenings and funerals), it also imposes ‘artificial’ structures
on the events in midlife. On the one hand we have personal
events: marriages, graduations, birthdays (annual and
‘significant’) and bar mitzvahs.; on the other it may be our
specific culture that deems events to be significant. These may be
annual – determined by religious or national conventions (St
Patrick’s Day, Independence Day, Diwali) or once-in-a-lifetime
Figure 5 Liam Reilly “There’s a story … I’m not sure if it’s true quasi-universal (the Millennium, town-twinning).
or not, but several people have told me …” If we are in accord with Arnold van Gennep’s scheme of things
Similarly historians have found great value in the use of these rites de passage mark out ceremonially the changes of status
photographs and film to stimulate memory, but may remain and social identity imposed upon us according to the conventions
skeptical about the reliability of the memories they evoke. of our own particular culture. “On the threshold” of these status
Memories are notoriously unreliable in trying to establish the changes (e.g. marriage or graduation), as part of the ceremonial
facts, so they need to be checked against other sources. This is proceedings the individual is usually given special clothing for the
40
day – indeed the very moment to take a photo! At these events not which the teller is displaying local pride as well as gaining
only do we tend to use the camera to make a record, but over the personal mischievous enjoyment in recounting rather questionable
last 150 years (in a curiously reflexive state of affairs) the act of narratives. As the old saying has it “Never let the facts get in the
photography itself has become a key player in these “life way of a good story.”
masterplots”. That photography has attained its own special status
in this regard, is marked by the fact that different cultural rules 5. REFERENCES
govern the ways photography is used on these occasions:
permission may or may not be granted to take wedding photos in
church or other locations; or different cultures have different [1] Proust, Marcel 1969 Remembrance of Things Past (À la
attitudes to photographing the dead and/or placing the images on recherche du temps perdu). Translated by C.K. Scott
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