The “Remembrance Trilogy”: Autobiography and film memory in Terence Davies’ cinema

Abstract

This article explores the relationship of intertextuality between the films Distant Voices, Still Lives (1988), The Long Day Closes (1992) and The Neon Bible (1995) by Terence Davies, based on the autobiographical marks and quotations from other cinematographic works that the filmmaker incorporates in these titles, with the aim of pointing out the features that make them a trilogy, which does not pass through the author’s manifest intentionality in formulating them as such, but which, due to their subject matter, temporality and staging, allow them to be catalogued as a “Trilogy of remembrance.”