PSYCHOANALYTICAL APPROACH TO COMPLEX NARRATIVE IN MOVING IMAGE: NOLAN’S MEMENTO

This article explores Christopher Nolan’s Memento as an exemplar of complex narrative in moving images with a psychoanalytical approach. Psychoanalysis has provided a foundation for commentators, film critics and theorists to analyse cinema. By using Freud’s Iceberg Analogy of the unconscious mind, this article examines the parallelism between the emergence of unconscious complex mental states, how they are expressed through emotions and behaviour in moving images and how spectators reflect their unconscious emotions and mental states. The article focuses on Memento and analyses the movie's character and narrative structure. Memento was chosen as Christopher Nolan captured the scary extent of the human mind's complexity and its unconsciousness. Through complex narrative structures, he created associations between audiences’ unconsciousness and negative emotions of repression and stress associated with it, such as helplessness, fear of having no purpose, misjudgement or unfair treatment. This article examines the scene structures in relation to the complexity of narratives and narratives’ relation to Leonard Shelby’s unconscious mind, through the framework of psychoanalysis and interpretivist approaches by utilising psychoanalytic film theory and text analysis. It concludes that the protagonist, Leonard Shelby, has a detached preconscious and conscious and unconscious resulting from not his head injury but unconsciously using it as a psychological shield. The detachment between levels of consciousness is depicted as a moving image in black and white. This provides stability and consistency to Leonard’s version of narratives, which plays the reverse. The analysis of Memento with a psychoanalytical approach evidences the parallelism between Freud’s Iceberg Analogy of the unconscious mind and humans' complex unconscious mental states and how this is depicted in moving image.