Cinema resurrects history precisely because history has lost its real referential force.

Evidence

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. … History is our lost referential, that is to say our myth. It is by virtue of this fact that it takes the place of myths on the screen. — Jean Baudrillard, Simulacra and Simulation, 157

Categorization

• XREF: Directly parallels Jameson’s account of the postmodern historical nostalgia film (e.g. Body Double analysis); the retro fascination with WWII in both. — connects to: Shifting from a lost golden age to a future reconciliation fundamentally reorders literary history. — Fredric Jameson, Marxism and Form, 369
• DEFINE: Defines ‘history as lost referential’ and ‘retro’ — history becoming myth once unmoored from the real.