ABSTRACT
This chapter looks at films of the German car industry and their reappearance in post-cinematic exhibition spaces as an exemplary case to theorize the “afterlife” of non-theatrical film. It is argued that the circulation of such films within digital cultures can be understood as a relation between the persistence of visual forms and changing modes of perception. This results in a mode of cinematic experience that is structured by “weak dispositives,” as part of the exhibition space as choice architecture. The chapter extends existing mostly historical scholarly work on non-theatrical film to concepts of cinematic experience, digital “nudging” and the politics of digital media distribution.
