When cinema visualises memory, it introduces a key problem in the effect its depictions can have on public understanding of the reliability of recollection. Science fiction films, for example, often position memories as discrete and bounded audio-visual instances that can be isolated and extracted from the brain, from Men in Black (Barry Sonnenfeld, 1997) to Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004), or in some cases implanted, as in Total Recall (Paul Verhoeven, 1990) or Open Your Eyes (Abre Los Ojos, Alejandro Amenábar, 1997). These narrative tropes may be explicitly presented as fantasies, but they are still impactful, as many tend to think of memory in isolation to the most salient properties that make it so dynamic: the way memory changes depending on the emotional state of the reminiscer (Nordgren et al., 2006), or the ways in which memories are socially constructed in concert with others rather than sitting dormant, waiting in the mind to be “activated” (Sutton et al., 2010).

中文翻译：

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描绘自传式的想象：由内而外的情感、记忆和元认知

当电影将记忆可视化时，它引入了一个关键问题，即它的描述对公众对回忆可靠性的理解的影响。例如，科幻电影通常将记忆定位为可以从大脑中分离和提取的离散和有界的视听实例，从《黑衣人》（Barry Sonnenfeld，1997 年）到《一尘不染的心灵的永恒阳光》（Michel Gondry，2004 年） )，或在某些情况下植入，如Total Recall (Paul Verhoeven, 1990) 或Open Your Eyes ( Abre Los Ojos，亚历杭德罗·阿梅纳巴尔，1997 年）。这些叙事比喻可能被明确地呈现为幻想，但它们仍然具有影响力，因为许多人倾向于将记忆孤立于使其如此动态的最显着属性：记忆的变化方式取决于回忆者的情绪状态（Nordgren等人，2006 年），或者记忆在社会上与他人共同构建的方式，而不是处于休眠状态，在头脑中等待被“激活”（Sutton 等人，2010）。