Abstract
Since at least the turn of the millennium, notions of film as a medium and cinema as an institution have undergone significant transformation. The shift from film to digital media, now a familiar historical narrative, has given rise to a moving image culture no longer bound to traditional sites of encounter and modes of address but taking on fluid identities in new contexts. Circulating widely in the wake of the digital revolution, the ‘death of cinema’ discourse describes the latest in a series of ‘deaths’, that, as André Gaudreault and Philippe Marion argue, have come to define a modern medium in a continual state of flux and transformation. Nonetheless, ‘[w]hat has incontestably changed today’, in their view, ‘is that cinema no longer has exclusive claim on our heart and is having a lot of trouble getting over the fact.’...
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