Abstract
This article analyses the function of opening sequences in war films. With reference to Erll’s studies on film and memory, the author suggests that, besides initiating processes of framing film worlds, opening sequences also activate a certain memory-making rhetoric that enables potential impacts on historical discourse and memory politics. He subdivides this last function into three rhetorical modes of cultural memory – an objectifying, subjective and reflexive approach. Subsequently, the author provides close readings of the opening sequences of various contemporary war films to exemplify and illustrate each function and rhetorical mode. In conclusion, the author connects a recent surge in films employing a subjective and reflexive rhetoric to changes in imaging technologies.
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