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Memento Chronological Order Download
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Jacalyn Loston
Jan 4, 2024, 3:00:11 PM1/4/24
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Chronological Presentation
To access the chronological re-edit, select the Clock, and choose C on the following five pages. You'll see a quiz that shows four illustrated panels of a woman changing a flat tire on her car. The quiz asks you to place the panels in chronological order. The trick, of course, is to place the panels in backwards order, which is 3, 4, 1, 2. After you do so, the film begins playing its scenes in chronological order. Playfully, this cut starts with the end credits rolling downwards. After that, the film's forward-moving black-and-white sequences begin, focusing mostly on the Sammy Jankis back story. (The chapters have simply been rearranged in chronological order.) This re-edit is presented in Dolby ProLogic. Although you can't fast-forward or skip forward through this presentation, you can jump to certain time codes.
memento chronological order download
DOWNLOAD https://t.co/LVr3w8bXUA
Memento Mori Short Story
To access Jonathan Nolan's original short story, select the Clock, then choose C on the following five pages. You're back at the quiz that shows four illustrated panels of a woman changing a flat tire on her car. This time, place the panels in chronological order, which is 2, 1, 4, 3.
Once you're rotating through this left-and-right navigation, you can access several screens from which you can access special features. The special-feature screens appear in the following order (in a loop):
Christopher Nolan's Memento was a sleeper smash-hit in 2000: the smart indie used an ingenious backwards narrative structure and well-drawn but mysterious characters to draw us into the world of Leonard Shelby, the 'ten minute man' who suffers from anterograde amnesia, unable to make new memories. Now the film has been re-edited to run chronologically, and is available to watch online. Click below to see what an indie filmmaker can learn from the narrative structure of this indie classic!
During the Fall of 2013, I analyzed Pulp Fiction with my students in my Video Art Class for the School of Visual Arts at Penn State. One of their assignments was to produce a video and then re-edit it to tell the same story but in different order, and therefore explore how aesthetics play a role in experiencing a narrative. We went over a few examples that would give them ideas, some of the links I provided as resources included Pulp Fiction and Memento. I share them below:
We also viewed a chronological version of Pulp Fiction which was available on line but, unfortunately, was taken down. And I also presented in class a two column set of still frames of the two versions of the film (figure 2) of the way it was edited by Tarantino (left), and the chronological order version (right). We discussed how the film has a particular open-endedness due to the fact that its beginning and ending appear to be the middle of the story. This is fairly well known but it becomes more than evident in the two column visualization I provide below that the editing of the film is not as simple:
When we look at this visualization we notice that the chronological ending of the film does not fall in the middle of the original film as is commonly argued. This means that the story is further edited. When breaking it down in more detail with color-codes, we can notice the following differences:
We can see that the original film does not fully follow a chronological order that was simply edited to make the middle of the chronology the beginning and ending. The chronological ending of the film takes place about two thirds of the way into the film, while the ending of the original does fall more or less around the middle of the chronological version. But even when this happens we can notice that parts of the chronology are moved around to enhance the experience of the story. For instance, the opening of the original takes place just before we reach the middle of the film, meaning that this part of the story is part of the ending, of course. We can look at each of the other segments and notice have they are shifted to tell the story in a way that will be more interesting than it being simply chronological.
I numbered 1- 6 the chronological sequences of the original version (left column), and repositioned them into the chronological version of the film (right column). We can notice that the two opening scenes are different (diner and Captain Koons), but the very next scene is the same (Jules and Vincent in the car on their way to do a job). The second sequence in the original version is then split in order to turn it into the final chronological sequence (6, Jules and Vincent finishing the job to end up back in the diner), this is why 3 and 6 match about a third of the way into both film versions. Notice that six then comes together with sequence 1 to end at the very middle of the chronological version and match sequence 4 (Vincent and Mrs Wallace) in the original edit. It is sequence 5 (Butch fighting, escaping, running into Vincent, and Mr. Wallace, confronting the gimp, and the eventual get away) that is the actual chronological ending of the story, but we see that in the original edit this one is followed by section 6, which is the scene of Jules and Vincent at the diner, this is also sequence 1, as we know.
This gives a sense of repetition, and may even allude to certain interests in terms of content and ideas within the corpus of the text, but it does not provide a clear sense of how the words actually function, or under what context they recur. For this, the way the words are used in actual sentences can be mapped. In the following word trees, the top five words (in order of times repeated), Time, Thought, Sound, Space, and Thoughts are linked to all the phrases that follow them:
At this point we can get a full sense of how the word recurs and how it functions each time it appears. This approach puts me in the position to evaluate what similarities and differences their implementation may share in order to evaluate particular tendencies I may have in my writing.
The movie alternates between showing black-and-white snippets of the hotel room phone call (in correct temporal order, the blue lines) and in-color snippets of the main action (each one ending where the preceding snippet began, the red lines).
The chart only depicts the movie's storyline and the movie's plotline and their ordering. It does not breakout the numerous flashback sequences (with Sammy Jankis, Mrs. Jankis and Leonard's wife). In plot order, the sections labeled 'S', '5', '6', '7', '8', 'O', '9', 'K', 'J', '15', 'E', 'D', '21', '22' and 'A' all include such discontinuities (with the flashback in section 'O' occurring in Leonard's dream). The flashbacks that occur during the color sequences are in color, and those during the black and white sequences are in black and white, with the single exception of section '22' when the flashbacks during this black and white sequence are shown in color (leading up to the linear transition from black and white to color, when the Polaroid photo develops in Leonard's hand).
Told -- or more precisely presented -- in reverse chronological order, "Memento" is a construction of two stories; one shot in color in the "present" world in which Leonard is surrounded by the people in his life, and the other a timeless black and white documentary-like story of an isolated Leonard anguished by lack of memory and haunted by fear and anxiety. Each scene is an episode flipped backwards, so that by the time the scene concludes we progress closer to the beginning of the story. As written by Mr. Nolan and based on his brother Jonathan's original short story "Memento Mori," the film makes its audience work while entertaining and enveloping it in its intricacies.
Disc two is the goldmine for "Memento" fanatics. There's the director's shooting script, trailers, Jonathan Nolan's original story, and among other features, a special "Easter egg" surprise, which allows you to watch "Memento" in chronological order, starting with much of the black and white story. To access it you will need to select the clock from the group of two dozen objects. The letter C should be selected as the option for five successive questions. A set of four comic strip-like drawings of a woman with her car will appear. You are asked to rearrange them in the correct order. (The correct sequence is pictures 3, 4, 1 and 2.) The film then plays in chronological order, cheekily beginning with a manipulation of the end credits. Jason Bovberg of DVD Talk presents a helpful, detailed explanation of how to access all the features on both discs in his 2003 article about the limited edition 2-disc DVD edition.
As we've already established, Memento unfolds in two different ways, giving us a series of black-and-white scenes that movie in chronological order, as well as color scenes that move in reverse chronological order, until they all meet in the middle. The protagonist of the film is Leonard (Guy Pearce), a man with anterograde amnesia, which means that he can't form new memories and therefore must keep track of his life through a series of notes, pictures, and most importantly, tattoos of important clues and events. Leonard got his amnesia through a head injury sustained when his wife (Jorja Fox) was attacked and murdered in their home one day. One of the men responsible for the attack is already dead, but the other is at large, and Leonard has been using his tattoo system to hunt for that man ever since, seeking revenge for his late wife.
The chronological black-and-white sequences reveal all of this, and point the way to a cop named Teddy (Joe Pantoliano), who has information that will lead Leonard to his wife's killer. Meanwhile, the reverse-chronological color sequences feature a bartender named Natalie (Carrie-Anne Moss), who points Leonard in the direction of Teddy himself as his wife's killer. All the while Leonard is looking for someone named "John G" or "James G," one of his few clues as to the killer's identity, and both Teddy himself and the man Teddy sends Leonard to kill, Jimmy, match those initials in some way.
35fe9a5643
To access the chronological re-edit, select the Clock, and choose C on the following five pages. You'll see a quiz that shows four illustrated panels of a woman changing a flat tire on her car. The quiz asks you to place the panels in chronological order. The trick, of course, is to place the panels in backwards order, which is 3, 4, 1, 2. After you do so, the film begins playing its scenes in chronological order. Playfully, this cut starts with the end credits rolling downwards. After that, the film's forward-moving black-and-white sequences begin, focusing mostly on the Sammy Jankis back story. (The chapters have simply been rearranged in chronological order.) This re-edit is presented in Dolby ProLogic. Although you can't fast-forward or skip forward through this presentation, you can jump to certain time codes.
memento chronological order download
DOWNLOAD https://t.co/LVr3w8bXUA
Memento Mori Short Story
To access Jonathan Nolan's original short story, select the Clock, then choose C on the following five pages. You're back at the quiz that shows four illustrated panels of a woman changing a flat tire on her car. This time, place the panels in chronological order, which is 2, 1, 4, 3.
Once you're rotating through this left-and-right navigation, you can access several screens from which you can access special features. The special-feature screens appear in the following order (in a loop):
Christopher Nolan's Memento was a sleeper smash-hit in 2000: the smart indie used an ingenious backwards narrative structure and well-drawn but mysterious characters to draw us into the world of Leonard Shelby, the 'ten minute man' who suffers from anterograde amnesia, unable to make new memories. Now the film has been re-edited to run chronologically, and is available to watch online. Click below to see what an indie filmmaker can learn from the narrative structure of this indie classic!
During the Fall of 2013, I analyzed Pulp Fiction with my students in my Video Art Class for the School of Visual Arts at Penn State. One of their assignments was to produce a video and then re-edit it to tell the same story but in different order, and therefore explore how aesthetics play a role in experiencing a narrative. We went over a few examples that would give them ideas, some of the links I provided as resources included Pulp Fiction and Memento. I share them below:
We also viewed a chronological version of Pulp Fiction which was available on line but, unfortunately, was taken down. And I also presented in class a two column set of still frames of the two versions of the film (figure 2) of the way it was edited by Tarantino (left), and the chronological order version (right). We discussed how the film has a particular open-endedness due to the fact that its beginning and ending appear to be the middle of the story. This is fairly well known but it becomes more than evident in the two column visualization I provide below that the editing of the film is not as simple:
When we look at this visualization we notice that the chronological ending of the film does not fall in the middle of the original film as is commonly argued. This means that the story is further edited. When breaking it down in more detail with color-codes, we can notice the following differences:
We can see that the original film does not fully follow a chronological order that was simply edited to make the middle of the chronology the beginning and ending. The chronological ending of the film takes place about two thirds of the way into the film, while the ending of the original does fall more or less around the middle of the chronological version. But even when this happens we can notice that parts of the chronology are moved around to enhance the experience of the story. For instance, the opening of the original takes place just before we reach the middle of the film, meaning that this part of the story is part of the ending, of course. We can look at each of the other segments and notice have they are shifted to tell the story in a way that will be more interesting than it being simply chronological.
I numbered 1- 6 the chronological sequences of the original version (left column), and repositioned them into the chronological version of the film (right column). We can notice that the two opening scenes are different (diner and Captain Koons), but the very next scene is the same (Jules and Vincent in the car on their way to do a job). The second sequence in the original version is then split in order to turn it into the final chronological sequence (6, Jules and Vincent finishing the job to end up back in the diner), this is why 3 and 6 match about a third of the way into both film versions. Notice that six then comes together with sequence 1 to end at the very middle of the chronological version and match sequence 4 (Vincent and Mrs Wallace) in the original edit. It is sequence 5 (Butch fighting, escaping, running into Vincent, and Mr. Wallace, confronting the gimp, and the eventual get away) that is the actual chronological ending of the story, but we see that in the original edit this one is followed by section 6, which is the scene of Jules and Vincent at the diner, this is also sequence 1, as we know.
This gives a sense of repetition, and may even allude to certain interests in terms of content and ideas within the corpus of the text, but it does not provide a clear sense of how the words actually function, or under what context they recur. For this, the way the words are used in actual sentences can be mapped. In the following word trees, the top five words (in order of times repeated), Time, Thought, Sound, Space, and Thoughts are linked to all the phrases that follow them:
At this point we can get a full sense of how the word recurs and how it functions each time it appears. This approach puts me in the position to evaluate what similarities and differences their implementation may share in order to evaluate particular tendencies I may have in my writing.
The movie alternates between showing black-and-white snippets of the hotel room phone call (in correct temporal order, the blue lines) and in-color snippets of the main action (each one ending where the preceding snippet began, the red lines).
The chart only depicts the movie's storyline and the movie's plotline and their ordering. It does not breakout the numerous flashback sequences (with Sammy Jankis, Mrs. Jankis and Leonard's wife). In plot order, the sections labeled 'S', '5', '6', '7', '8', 'O', '9', 'K', 'J', '15', 'E', 'D', '21', '22' and 'A' all include such discontinuities (with the flashback in section 'O' occurring in Leonard's dream). The flashbacks that occur during the color sequences are in color, and those during the black and white sequences are in black and white, with the single exception of section '22' when the flashbacks during this black and white sequence are shown in color (leading up to the linear transition from black and white to color, when the Polaroid photo develops in Leonard's hand).
Told -- or more precisely presented -- in reverse chronological order, "Memento" is a construction of two stories; one shot in color in the "present" world in which Leonard is surrounded by the people in his life, and the other a timeless black and white documentary-like story of an isolated Leonard anguished by lack of memory and haunted by fear and anxiety. Each scene is an episode flipped backwards, so that by the time the scene concludes we progress closer to the beginning of the story. As written by Mr. Nolan and based on his brother Jonathan's original short story "Memento Mori," the film makes its audience work while entertaining and enveloping it in its intricacies.
Disc two is the goldmine for "Memento" fanatics. There's the director's shooting script, trailers, Jonathan Nolan's original story, and among other features, a special "Easter egg" surprise, which allows you to watch "Memento" in chronological order, starting with much of the black and white story. To access it you will need to select the clock from the group of two dozen objects. The letter C should be selected as the option for five successive questions. A set of four comic strip-like drawings of a woman with her car will appear. You are asked to rearrange them in the correct order. (The correct sequence is pictures 3, 4, 1 and 2.) The film then plays in chronological order, cheekily beginning with a manipulation of the end credits. Jason Bovberg of DVD Talk presents a helpful, detailed explanation of how to access all the features on both discs in his 2003 article about the limited edition 2-disc DVD edition.
As we've already established, Memento unfolds in two different ways, giving us a series of black-and-white scenes that movie in chronological order, as well as color scenes that move in reverse chronological order, until they all meet in the middle. The protagonist of the film is Leonard (Guy Pearce), a man with anterograde amnesia, which means that he can't form new memories and therefore must keep track of his life through a series of notes, pictures, and most importantly, tattoos of important clues and events. Leonard got his amnesia through a head injury sustained when his wife (Jorja Fox) was attacked and murdered in their home one day. One of the men responsible for the attack is already dead, but the other is at large, and Leonard has been using his tattoo system to hunt for that man ever since, seeking revenge for his late wife.
The chronological black-and-white sequences reveal all of this, and point the way to a cop named Teddy (Joe Pantoliano), who has information that will lead Leonard to his wife's killer. Meanwhile, the reverse-chronological color sequences feature a bartender named Natalie (Carrie-Anne Moss), who points Leonard in the direction of Teddy himself as his wife's killer. All the while Leonard is looking for someone named "John G" or "James G," one of his few clues as to the killer's identity, and both Teddy himself and the man Teddy sends Leonard to kill, Jimmy, match those initials in some way.
35fe9a5643
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