Oedipus the King and Memento - Conventions of Storytelling Analysis - Essay Example

Section/# Oedipus the King and “Memento Conventions of Storytelling Analysis Regardless of the story that is being told, there are ultimately a very limited number of approaches that can be utilized by a given author, director, or poet. Because of the limited number of approaches towards telling stories that exists, it is invariably the case that many forms of storytelling are used, albeit in different manners, within a number of different genres and throughout a large expanse of time. For purposes of this particular analysis, the author will engage the way in which storytelling is conducted within Sophocles Oedipus the King and relate this to the way in which storytelling is accomplished within the film “Memento”. Although separated by nearly 2000 years, these two mechanisms and plot lines for storytelling are uniquely similar. Yet, rather than allowing the following paper to be a comparison and contrast between the two, the similarities, means of approach, and distinctive identities of these particular stories will be discussed; alongside other aspects relating to the convention of storytelling. It is the hope of this author that such a level of representation will not only be beneficial with respect to understanding the film and/or Sophocles tale to a more effective degree but also with respect to understanding how the conventions of storytelling are relatively unknown nuanced and remain uniquely similar – regardless of the mechanism that is being utilized as a function of representing the story to the reader/viewer. Firstly, it must be understood that within Sophocles Oedipus the King, the character of Oedipus is clearly engage in a self absorbed quest for truth. Within this quest for truth, a quest that many analysts have likened to a detective novel, Oedipus is intent upon finding out key aspects of his own origin and the veracity or falseness that gossip and myth had demanded that he considered. As a direct result of the fact that Oedipus engages in this self imposed inquiry, the reader is naturally forced along with him on this journey (Beiderwell et al. 93). Whereas the reader might assume that this is one of the only conventions of storytelling that Sophocles could have used, the fact of the matter is that Sophocles could have just as easily related the situation from a different perspective; thereby detailing and more effectively reducing the detective nature of the work that Sophocles wanted the reader to infer. A very similar condition is of course utilized within the film “Memento”. Essentially, the key mechanism of storytelling that makes this particular film slow moving and effective is no different from the convention of storytelling that has been discussed above with respect to Sophocles Oedipus the King. Ultimately, the main character is seeking to piece together an understanding of the events that have thus far transpired. Interestingly, this desire to understand and define previous events is completely similar to the desire that is represented with respect to Oedipus and his quest to engage a deeper understanding of his own origins and the truth or untruths that are represented within the ongoing gossips that he has oftentimes heard. Both of these story telling conventions allow for the reader/viewer to journey alongside the quest for truth and understanding that the main characters are involved within. Furthermore, by detailing this journey alongside the need for self identity and meaning, an even further representation of the power and strength of this particular convention is underscored. The continual process of seeking out truth and the impediments that are presented along the way is another underlying similarity that exists between these otherwise disparate genres of storytelling (Memento 2000). Further similarities can b noted on a number of levels; however, the issue that needs to be focused on to the greatest degree is concentric upon the mode of storytelling and not the individual similarities in plot or convention that have thus far been defined and represented. A noted differential that is represented within both of these storytelling conventions is the fact that they are both the nonlinear. Whereas it is obvious that “Memento” is nonlinear, due to the way in which different scenes are juxtaposed with one another and the manner by which the action is undertaken, the analyst might have a somewhat more difficult time understanding the fact that Oedipus the King is also nonlinear. Ultimately, as a result of the investigatory nature of the story, that this is seeking to find the necessary information and place a level of understanding on issues that have long since transpired. Whereas it is true that the investigatory nature of Oedipus inquiry, once it begins, is linear, the representation of all of the information that is related and the preceding action that has taken place is of course nonlinear. Naturally, the use of linear and nonlinear plot lines with both of these stories analyzed of course represents the fact that “Memento” has the greatest utilization of nonlinear plot representation. In the case of “Memento”, as the pieces of the plot are horribly fragmented, the viewer has little understanding of the proceeding events up until the culminating issues are resolved in the final scenes of the film. Although it is not the intention of this particular analysis to overburdened or belabor the issue of the investigatory or detective nature that both of these storylines represents, it must be understood that a primary convention of both of these stories is based upon the need for the reader or viewer to continue guessing with respect to what ultimate secrets or realities might be represented within the concluding scenes. As foreshadowing takes place strongly within Oedipus the King, such a convention is not utilized to such an effective degree within “Memento” (Sophocles 23). Likewise, the need to keep the reader or the viewer on their toes and collectively confused as to what potential breakthrough in understanding might take place next is ultimately a primary convention for what has allowed both of these stories to achieve such a wide level of success and renowned within the circles they have. Although key similarities and differences exist, it has not ultimately been the purpose of this analysis to detail this. Instead, the convention of storytelling as it exists, and has it has existed for thousands of years, is indeed the more compelling tale that is being related with respect to the success and lasting influence that certain stories are able to achieve. Whereas it may appears as if the “on screen” success of a story such as “Memento” might be due to the fact that it is a visionary film that was the first to relate its particular representation of storytelling, the reader can clearly denote that this convention of storytelling is not new or unique to “Memento” and has in fact been represented nearly 2000 years previously with regard to Oedipus the King and other such Greek tragedies both before and after. Essentially, the storytelling conventions are an essential component of what has allowed both of these stories to become so intrinsically successful. Yet, this does not decrease the importance or relevance of “Memento” or Oedipus the King, instead, it helps to underscore the central thesis of this particular analysis; namely that the conventions of storytelling are not nearly as broad or nuanced as one might initially expect. As a direct result of this, it is not uncommon for stories to mirror one another; at least with respect to the way in which the plot unfolds and the action is related to the ultimate viewer/reader/audience. Works Cited Beiderwell, Bruce J., and Jeffrey M. Wheeler. Literary experience. Boston, MA: Thomson/Wadsworth, 2009. Print. Memento. Dir. Christopher Nolan. Perf. Guy Pearce, Carrie Ann Moss. 2000. NewMarket Films, 2000. Film. Sophocles. Oedipus Rex. Hoboken, N.J: BiblioBytes, . Print. Read More