Abstract
The article offers a narratological analysis of Memento , coming from the proposals of Gerard Genette for literature. That analysis underlines the achieved articulation between the narrative structure of the film and its representation of the fragmentation of the personal identity. In order to achieve that, screenwriter and director Christopher Nolan makes use of two resources mainly: the reverse presentation of the temporality, which underlines the fixed internal focalization; and the confrontation of the versions of the two main characters, which leaves the narrative open, reflecting in this way the conflict between reality and construction that burdens the protagonist of the film.
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