Film studies has rapidly changed since the 1990s. The death of cinema and media convergence have been claimed, while films that privileges its power of audio-visual attention and the modulation of speed as well as its capacity to restore memory in the evolution of the digital technology are emerging. Cinema is the first mnemonics produced externally in forms of audio-visual materials: montages and duration of human's mind, consciousness and memory. In a word, cinema is cinemnemonics.
This paper will attempt to grasp the way that memory recurs and its modus essendi, considering today's cinema as cinemnemonics: which memory it insists or not; how it visualizes the memory; and which memory it intends to forget or encourage. In other words, the mode and transformation of cinemnemonics as such will be explored along with the co-evolution of the digital technology, examining contemporary memory-films: Blade Runner(Ridley Scott, 1982), Strange Days(Kathryn Bigelow, 1995), Memento(Christopher Nolan, 1999), Being John Malkovich(Spike Jonze, 1999), The Matrix(Lana Wachowski, Andy Wachowski, 1999), Minority Report(Steven Spielberg, 2002), Donnie Darko(Richard Kelly, 2001), Old Boy(Park Chan Wook, 2002), The Final Cut(Omar Naim, 2004), Bad Education(Pedro Almodovar, 2004), Eternal Sunshine of the Spotless Mind(Michel Gondry, 2004), The Jacket(John Maybury, 2005), Cache(Michael Haneke, 2005), Inception(Christopher Nolan, 2010), Uncle Boonmee Who Can Recall His Past Lives(Apichatpong Weerasethakul, 2010) and The Tree of Life(Terrence Malick, 2011).
In conclusion, it suggests that postfilmic cinema as cinemnemonics constructs the mole memory as well as the molecular memory in the age of high-spectacle society, and thus constructs the rhizome-memory conceptualized by Deleuze through the depersonalized mode and transformation among nature, human, and technology.