Goldfish Memory: Fluid Sexuality in a New Irish Landscape
Images depicting Ireland tend to evoke the picturesque green landscapes many associate with Ireland. The typical postcard will often depict rolling hills, timeless castles, sheep obstructing roads, etc. This imagery creates a calm, idyllic life, but exists away from the globalization Irish people are experiencing, to the pleasure or chagrin of its citizens. Distancing itself from this pastoral scenery, Goldfish Memory, creates a new, hipper landscape in which escapes from the traditions and taboos associated with popular images of Ireland with new fluid identities.
Goldfish Memory follows a group of individuals and their intertwining stories of love and romance. Each character experiences new relations in contrast to their identities. The film's title derives from the memory of a goldfish being around three seconds, at which point the goldfish forgets everything it once knew and begins again, a metaphor for humans experiencing the joys and pains of love again and again.
Goldfish Memory occurs strictly within a new Dublin cityscape. Shots depicting the city's skyline and the river Liffey are shown frequently, and the city's population is seen actively walking the city's streets. In McLoones's "Cinema, city, and imaginative space,", he writes of howthis portrayal envisions "a new imagining of Dublin, turning the old premodernist city into apostmodernist playground" (213). The color of the film has been enhanced to breathe life into the city, and the bustling and crowded streets show that Dublin's citizens are actively navigating this new potential. From these shots of city life, the film will cut to its characters interactingin hip, new places, such as a coffee shop or a well decorated apartment. In both these public and private spaces, the characters seem willing to openly choose a mate regardless of sex without fear of consequence. The film ignores how such actions may provoke hom*ophobic response, but its frequent use of the cityscapemeans it is trying to represent Dublin at large. As scenes cut between vast exterior shots of buildingsand cool interior shots of bars and other such spaces, the soundtrack acts a bridge between these two spaces. The music is evocative of what would be found a cool, inner-city coffee shop, bringing modern taste to a country so seemingly stuck in its ways. This constant use of a sound bridge is meant to impose the ideals of these areas on the larger population, representing Ireland's growing tolerance to queer culture. These dramatic new spaces become areas for which to discover anew identity, which many of the film's characters navigate and explore.
With this new Ireland, the film attempts to experience sexual freedom within this exciting new landscape.Many of the film's characters are gay, straight, lesbian, or something in between. David, the bumbling bartender, constantly repeats that he is straight early, despite his attraction Red. He is adamant in defendinghis heterosexuality, and while he is depicted as having little to no sexual interest in his girlfriend,he refuses to break up with her until caught with Red. Likewise, Red and Angie both identify as hom*osexual, but after one night's indulgence in wine, the two end the night by sleeping together, leading to Angie becoming pregnant. These charactersprovide a new intertwining of sexual relations and identities, and the film facilitates their exploration of sex and relationships.This new city provides optimal space for exploring queer identity, and the lack of ramifications for public displays of queerness means characters act at their own discretion.
For all of the film's exploration of fluid identities, those who most freely participate in this sexual hedonism are punishedby the film's plot. Tom, the lecherous, old professor begins the film by charming two young women in his classes, Clara and Isolde. He is discovered by the former, and rejected by the latter. Clara goes on to date Angie, who is hoping for commitmentfrom this relationship. Clara, in exploring her new bisexuality, decides to sleep with her male friend on the side,eventually causing Clara and Angie to break up. Clara and Isolde then start a relationship, with both seeking physical pleasure.Meanwhile, Tom finds new love in Renee, and by the film's end, has found redemption in his narrative throughhis marriage to Renee. Clara is then shown to use the same lines as her former suitor, differing only in environments. As Michael Patrick Gillepsie observes, "If one reads the final scene as endorsing a return to stability and equilibrium after a period of recklessness, then much of the praise given to the filmfor its sexual daring begins to ring hollow" (74).The film allows its characters to explore queer identities and spaces, but draws a distinct line between exploration and lustful self-indulgence.
Many arguments are made against Goldfish Memory for strict depiction of a new Dublin whichlacks any significant landmarks to distinguish it from other cities. In Holohan's Cinema on the Periphery, he writes "the camera seems reluctant to stray too far from the river Liffey, as if this were the only reliable anchor for the city's identity...to stray too far from the river is to enter a semantic vacuum" (105-106).This lack of a serious Irish identity mutes the The film is based in Ireland, but authors often write of the film's lack of a serious Irish identity, losingthe sexual progress which the film seems so focused on portraying.
As someone deeply immersed in film analysis and cultural studies, I bring a wealth of knowledge and experience to the discussion of the article titled "Goldfish Memory: Fluid Sexuality in a New Irish Landscape." My understanding of film theory, cultural representations, and the nuances of societal changes positions me to provide insightful commentary on the concepts embedded in this piece.
The article delves into the cinematic landscape of "Goldfish Memory," exploring its portrayal of a contemporary Dublin that transcends traditional Irish imagery. The film navigates the complexities of love and romance, weaving a narrative around characters embracing fluid sexual identities within the evolving social fabric of Ireland.
The central metaphor of the goldfish's three-second memory serves as a poignant analogy for the cyclical nature of human experiences in love. The author deftly connects this metaphor to the characters in the film, highlighting their repeated cycles of joy and pain in romantic relationships. This demonstrates a keen awareness of the film's thematic elements and its allegorical use of the goldfish memory concept.
The cityscape of Dublin emerges as a character in itself, undergoing a transformation from a premodernist city to a postmodernist playground. McLoones's perspective on the film's portrayal of Dublin, as mentioned in the article, adds depth to the understanding of how the visual elements contribute to the narrative. The enhanced color palette breathes life into the city, symbolizing its vibrancy and departure from traditional norms.
The juxtaposition of exterior shots of the city with interior scenes in modern spaces like coffee shops underscores the film's attempt to bridge the gap between old and new. The soundtrack acts as a cultural bridge, reflecting the evolving tastes in an inner-city coffee shop and, by extension, representing Ireland's growing tolerance toward queer culture. This analysis reflects a nuanced understanding of the film's use of audio-visual elements to convey its broader societal messages.
The article further explores the characters' exploration of queer identity within this new Irish landscape. The film portrays a spectrum of sexual orientations, with characters openly choosing partners without fear of societal consequences. The emphasis on sexual freedom within this evolving context speaks to the film's exploration of new identities and relationships.
However, the analysis also points out the film's nuanced stance on sexual exploration, as characters engaging in what the author terms "sexual hedonism" face consequences in the plot. This distinction highlights the film's commentary on the boundaries between exploration and self-indulgence, adding a layer of complexity to its portrayal of sexual liberation.
Additionally, the article incorporates criticism of the film's depiction of Dublin, with arguments against its lack of significant landmarks to establish a distinct Irish identity. Holohan's perspective on the reluctance to stray far from the river Liffey is cited, emphasizing the importance of this landmark in anchoring the city's identity. This critique adds a critical lens to the film's representation of Dublin, raising questions about its fidelity to a uniquely Irish identity.
In summary, the article provides a comprehensive analysis of "Goldfish Memory," demonstrating a deep understanding of film theory, cultural dynamics, and the societal implications embedded in the cinematic narrative. The author's ability to weave together themes of memory, identity, and societal progress showcases a nuanced and informed perspective on the film's portrayal of fluid sexuality in a new Irish landscape.
