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Extract
Although contemporary viewers watch movies in new ways and on different devices in the digital age, film has lost none of its power to shape the way viewers understand the contours of both the present and the past. Indeed, the question of how film affects us is just as pressing today as it was for some of the cinema’s earliest theorists. How does it engage viewers, transmit affect and provoke meaning-making? How does it shape understandings of the past and present? As Miriam Hansen observed, theorists like Siegfried Kracauer, Walter Benjamin and Theodore Adorno were interested less in the ontology of film than in ‘the kind of sensory-perceptual, mimetic experience it enabled’, which of course was contingent on social and political constellations. They were interested not so much in what cinema is, but ‘in what cinema does’ (Hansen 2012: xvii). Film offers up a seemingly material past; it invites affective engagement, evoking not just visual, aural and tactile faculties, but intellectual and cognitive ones as well. We are addressed, as Siegfried Kracauer wrote, ‘with skin and hair’ (quoted in Hansen 1993: 458). Because of the materiality of the filmic mode of address, the medium has the capacity to provoke us, to make us think, to fundamentally shape our ideas about both history and politics.
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