Human can not live without memory. Memory, as an abstract mental process,requires medium to represent. Whether it is to carry out memory or extract memory,we have to rely on specific things to carry that part of the memory content.According to Jan Asman, Habwach’s theory of "collective memory" confines the field of memory to social communication. In order to expand the scope of memory research, it is necessary to leave the field of daily communication and enter into the culture field.Therefore, the "cultural memory" put forward by Jan Asman is a transcendence of Habwach ’s "collective memory".Cultural memory plays a role through reconstruction. Youth memory, as a kind of cultural memory, has always been in transmission and forming. Youth experience is first of all private, and everyone has their own unique "youth memory". People living in the same era as a result of similar experiences constitute a collective memory of youth, this kind of collective memory will be consolidated and sublimated in a variety of ritual gathering places, and be record and inherited. Each generation will be eager to establish their own "youth image file".Since 2013, the authenticity of memory has been obscured by the stereotyped and homogeneous narrative mode of the domestic youth films. The vividness and uniqueness of youth memory is locked in the illusion space of image construction. The memory in youth film is actually a kind of imitation in the mirror, which is about the anxiety of memory and identity.Youth memory is not yet fully grown to be "old" enough, facing the risk of Alzheimer. Contemporary reconstruction of youth memory is taking us away from the"youth" in the direction of sliding to the abyss of the forgotten. Remnants of memory fragments and rewriting memory make the subject to "split", the identity of the subject will be lost. In the face of memory rupture, we need a sense of the past and historical consciousness to re-examine the importance of memory in the moment, and go back to cultural memory. |