For Naomi Kawase, cinema’s ability to preserve time also makes it a medium that can capture memory, making the film itself a material form of preserved memory.¹ As the director herself once stated in an interview:

When I discovered cinema, I learned to record and film with the camera; I feel that it is a medium that can preserve time. This capacity of preserving time is what fascinates me most about cinema. […] There are two ways of preserving time: memory and filming. Memory exists in our mind and the camera can film, record time. Each person’s memory is different; for example, you may think that my hand is orange, while for me it’s yellow. Memory allows changes, it is subjective. When I’m making a film, I always have this in mind. That’s why what I want to do through the camera is to transfer my memories to a film. (Kawase, 2016: my translation)²

Speaking, however, in reference mainly to the autobiographical focus of her earlier films, such as Embracing (Ni tsutsumarete, 1992) and Katatsumori (1995), Kawase highlights cinema’s ability to define memory as a temporally mediated form, one that transforms through time and allows spectators to change their perceptions of that preserved memory through subsequent viewings.

中文翻译：

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手工痕迹的问题：Naomi Kawase 的触摸电影中的信件、照片和豆沙

对于川濑直美来说，电影保存时间的能力也使它成为一种可以捕捉记忆的媒介，使电影本身成为保存记忆的物质形式。¹正如导演本人在一次采访中所说：

当我发现电影时，我学会了用相机记录和拍摄；我觉得它是一种可以保存时间的媒介。这种保存时间的能力是电影最让我着迷的地方。[…] 有两种保存时间的方法：记忆和拍摄。记忆存在于我们的脑海中，相机可以拍摄、记录时间。每个人的记忆力都不一样；例如，你可能认为我的手是橙色的，而对我来说它是黄色的。记忆允许改变，它是主观的。当我拍电影时，我总是会想到这一点。这就是为什么我想通过相机做的是将我的记忆转移到电影中。（川濑，2016：我的翻译）²

然而，谈到她早期电影的自传焦点，例如拥抱（​​Ni tsutsumarete，1992）和Katatsumori（1995），Kawase 强调了电影将记忆定义为一种时间中介形式的能力，一种随着时间和允许观众通过随后的观看来改变他们对保留的记忆的看法。