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Memory in Cinema/Memory after Cinema

Summary/Abstract: The text reflects on the relationship between cinema andmemory. The author starts from the ontology of AndréBazin, searching in the French critic’s famous essay foran answer to the question about the function of cinemaas a tool for ‘embalming time.’ The theoretical frameworkof reflection is Alison Landsberg’s concept of prosthet-ic memory (image as a memory prosthesis) and VivianP. Y. Lee’s post-nostalgia (image as a record of textualizedmemories). The author draws attention to the role of pho-tography, which she treats – along with Edgar Morin andRoland Barthes – as a source of cinematic hauntology. Thereflection was inspired by Damien Chazelle’s film Babylon(2022), especially by its self-reflexive finale, made in thespirit of Jean-Luc Godard’s essayistic Histoire(s) du cinéma(1988-1998), which the author treats as an epitaph for cin-ema, or rather for its traditionally understood dispositive.

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