The memory of perfection: Digital faces and nostalgic franchise cinema

Abstract

This article is concerned with the intersection of digitally augmented performance and nostalgia in contemporary Hollywood franchise cinema. The practice of ‘de-ageing’ or even resurrecting actors following their real-life deaths in films like Tron: Legacy (Joseph Kosinski, 2010), Terminator Genysis (Alan Taylor, 2015), Rogue One (Gareth Edwards, 2016), Blade Runner 2049 (Denis Villeneuve, 2017), Star Wars: The Rise of Skywalker (J.J. Abrams, 2019), and a large number of Marvel Cinematic Universe films, is now commonplace. Though such digital faces are primarily still found in franchise cinema, some exceptions ( The Irishman, Martin Scorsese, 2019; Gemini Man, Ang Lee, 2019) are telling in their franchise-like appeals to cinematic nostalgia. In particular, the digital face is most commonly aligned with the ‘legacy film’ (Golding, 2019), resurrected franchises interested in transferring franchise protagonists, themes and fandom across generations. The digital face therefore is an expression of the convergence of the digital with film, with the franchise, with the past and with memory. For these films, memory and nostalgia are meticulous exercises involving thousands of work hours of highly skilled CGI workers and cutting-edge technology. These highly technical, virtuosic digital faces are quite literally the face of this kind of nostalgia, and as Ndalianis observes, position the face ‘as façade that opens up a time-travel passageway between past and present’, inviting a seam-spotting game between audience and filmmaker (2014). Even if the digital face is perfect in its recreation, the audience’s knowledge of the impossibility of the performance leaves a trace of artistry. Accordingly, digital faces are creative, technical and financial decisions above all. This article outlines the uses of the digital face for memory, nostalgia and seriality in contemporary Hollywood franchise cinema, with a focus on representation and death.

Cite this work

No public copy is stored for this record, so only the metadata is cited.

Stored only when both papers are in the corpus — 8 citations exist upstream.

Papers that cite the same references — the relational fallback while embeddings are still backfilling.