Abstract

Nowadays, the so-called «digital age» asks how to re-examine, from one particular perspective, the relationship between cinema and history. In this paper, I will not address the relationship between cinema and history directly. Rather, I will try to investigate the status of cinema today, in an iconic, global, radically transformed universe. The paper answers this question through the analysis of Sokurov's film "Francofonia", which is not a requiem for Europe, but rather an unbelievable audio-visual symphony that has the Louvre as its main character.