Abstract
In 1936 and 1937, Diana and Antoinette Powell-Cotton made a film that purported to show a healing practice involving possession. Over seventy years later, the film produced the start of a possession state in an audience from the same region in which the film was made. This paper uses the explanations given by those in the audience for this near possession to challenge some frequently cited thinking on the mimetic, magical power of film to possess. It offers an alternative approach to the viewing of archive film drawing on a form of mimesis rooted in habitual bodily memory. This mimetic relationship allows for an immanence of past in the present dependent on the past experience of the viewer rather than the power of the image.
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