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T o claim that we are living in the era of “late cinema” is not to say that cinema is dying. In fact, cinema has entered a peculiar phase in which it seems both past its prime and vigorous at the same time. Like Frederic Jameson’s late capitalism,1 indeed as a part of global capitalism, late cinema is fl ourishing. Nevertheless, popular fi lm feels today like a late media form. It proceeds according to formulas, and it is marketed, perhaps to a greater degree than ever before, as a commodity by the entertainment industry. Film seems to have reached a kind of ripe old age, which is quite the opposite of the cultural position of both popular and experimental fi lm in, say, the 1920s. This is the era of late cinema, as it is the late age of print.2 This tacit, sometimes explicit, understanding hangs over the various forms of both fi lm and print and shapes how they are received in our culture today. In both cases it is digital technologies of communication and representation that cause fi lm and print to seem obsolescent. The reactions of writers and print publishers to the challenge of digital media would be the subject for another essay. We are concerned here with the reactions by fi lmmakers and the fi lm industry to the challenge posed by such digital forms as computer games, interactive and enhanced television, and hypermedia and the World Wide Web. For the past decade and more, the fi lm industry has been engaging in a particular form of intermediality that could be called “remediation.”3 If intermediality is in general the study of the relationships of one

Transference and Transparency: Digital Technology and the Remediation of Cinema []