Please read Chapt. 7 in your text The Philosophy of Neo-Noir, Basil Smith’s essay “John Locke, Personal Identity,” pp. 35-46, also in your text The Philosophy of Neo-Noir, Andrew Spicer’s essay “Problems of Memory and Identity in Neo-Noir’s Existentialist Antihero,” pp. 47-63, and in your text Neo Noir, Kathrina Glitre’s essay “Under the Neon Rainbow: Color and Neo-Noir,” pp. 11-27, Sherryl Vint and Mark Bould’s essay “The Thin Men: Anorexic Subjectivity in Fight Club and The Machinist,” pp. 221-237, and Deborah Thomas’ essay “Memento: Pasting Ourselves Together through Cinema,” pp. 240-253 all three in your text Neo-Noir, edited by Mark Bould, Kathrina Glitre, and Greg Tuck. Then watch David Fincher’s film Fight Club, about a man who is trying to find out who he is through his nemesis, and Christopher Nolan’s film Memento, about a man who knows who he was, but not who he has become — a familiar existentialist trope — and write a double-spaced 2-4 page critical essay (CE-3) in which you compare and contrast Nolan’s use of thematic and stylistic devices to portray the anti-hero protagonist, Leonard Shelby’s existential dilemma regarding his identity with Fincher’s use of thematic and stylistic devices to “shatter the barriers between self/other, reality/fantasy, and memory/dream, while maintaining a psychotic uncertainty for both the characters and the spectator” (Glitre 24).
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