This article considers the intersecting of remembering and imagining vis à vis individual and cultural amnesia. It focuses on two artists’ films, Shona Illingworth’s video installation Time Present (2016) and Trinh-T Minh-Ha’s film, Forgetting Vietnam (2015). Time Present portrays the experience of an individual living with amnesia and further relates it to the immobility that denotes the cultural representation of the island of St Kilda (Outer Hebrides). Forgetting Vietnam questions the problematic legacy of the Vietnam War and its recollection by bridging personal and shared experiences through a portrait of Vietnam itself. Both Illingworth and Trinh use the film’s features of frames and movement to convey the emotional and affective resonances of the experiences and places presented to generate the possibility of presence. This article closely examines Time Present and Forgetting Vietnam with a focus on the films’ respective structures and thematic developments and reads them by suggesting the intersecting of remembering and imagining culturally and its potentiality for engaging with absence and silenced histories through decentralized approaches.

The ongoing Russia-Ukraine war is primarily examined through official narratives, propaganda, and victims’ testimonies. However, the deeper motivations driving Russian men to enlist and fight often remain underexplored. While Western and Ukrainian media frequently attribute this to Russian propaganda, animosity towards Ukrainians, naivety, or financial incentives, these factors only partially capture the issue’s complexity. An additional motive rooted in an enduring ‘behavioral schema’ also plays a significant role. This schema is based on traditional gender roles influencing men’s decisions to engage in combat and women’s decisions to support them. By analyzing Russian social media and combatants’ writings, this research reveals how war discussions are framed by entrenched ‘traditionalist’ behavioral patterns. Utilizing Astrid Erll’s concept of ‘implicit memory’ and James V. Wertsch’s concept of narrative templates, this study elucidates not only the official narratives of the war but also the ‘hidden’ narratives that shape collective feelings and memories.