ABSTRACT
Digital film theory developments have emerged in a disruptive information age and the very notion of such a thing is itself contested. Even its conceptualisation is problematic given that digital space is not actually space but, to use Charles Sanders Peirce’s taxonomy of objects and the sign, indexical. The processes of analysing film texts are part of a wider area termed the digital humanities, which tries to be at the intersection of the technological sciences and the human interface with those technologies. Some forms of digital media, using technology to express and critique media objects and texts, lend themselves to current film theory as well as methods of analytical psychology. The act of remembering is not so much unnecessary with digital media but more like a reminder of the inescapability of testing memory. Therefore digital film theory is like a Mobius strip whereby remembering and evidence are entwined and forever run into one another.
