This hyperbolic collapsing of film-historical specificity within a spatially-based and marketing-driven, postmodern nostalgia bath on live TV is only possible in the digital media environment. The 2002 Oscar show introduction performs a mapping of first, a visual and aural take-off on a current film, and next, old movie posters, onto the contemporary Hollywood street, collapsing cinematic space onto at once marketing discourse and geographic space. Such “presti-digital” cinematic feats point to new geographies of movie marketing, and more precisely, movie heritage marketing, that have broader implications. As recent conjunctions of.
