In a violent and contemporary period of history (let’s say between the two world wars and the cold war), it is myth that invades cinema as imaginary content. It is the golden age of despotic and legendary resurrections. Myth, chased from the real by the violence of history, finds refuge in cinema.
Today, it is history itself that invades the cinema according to the same scenario–the historical stake chased from our lives by this sort of immense neutralization, which is dubbed peaceful coexistence on a global level, and pacified monotony on the quotidian level–this history exorcised by a slowly or brutally congealing society celebrates its resurrection in force on the screen, according to the same process that used to make lost myths live again.
Cinema plagiarizes itself, recopies itself, remakes its classics, retroactivates its original myths, remakes the silent film more perfectly than the original, etc.: all of this is logical, the cinema is fascinated by itself as a lost object as much as it (and we) are fascinated by the real as a lost referent. The cinema and the imaginary (the novelistic, the mythical, unreality, including the delirious use of its own technique) used to have a lively, dialectical, full, dramatic relation. The relation that is being formed today between the cinema and the real is an inverse, negative relation: it results from the loss of specificity of one and of the other. The cold collage, the cool promiscuity, the asexual nuptials of two cold media that evolve in an asymptotic line toward each other: the cinema attempting to abolish itself in the cinematographic (or televised) hyperreal.
-Simulacra and Simulation (p.43-47), Jean Baudrillard, 1981