Abstract
As human life is rapidly unfolding within digital realms, it has become urgent to (re)evaluate the meaning of the intangible heritage of our digital environments by looking closely into Hito Steyerl's re-readings of Walter Benjamin with the recognition of the 'image as object,' not merely as representation. The idea of activating an object could be a starting point, or a productive force, in the new approach towards an architectural digital heritage, advancing the transformation of our everyday reality with new readings of architectural spaces. Even though film has been recognised as a form of heritage, it is less present in the case of architectural heritage. This article questions what is the afterlife of 'cinematic spaces' as an affective memory of the moving image since they are neither neutral nor passive, as film is a form of expression and a product of collective memory. At the same time, it emphasises the necessity of (re)questioning the 'fluid' borders of the 'uncertain and complex' past, the 'acute and unstable' present and the 'desired or possible' future within cinematic spaces by rethinking the practice of archiving 'cinematic architecture' and expanding it into the digital realm.
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