Pamięć filmu. Mnemotechnika muzeów kina

The article is an analysis of the practices of contemporaryfilm museology, which allow for the problematization ofmemory. The research assumption is the belief that just ascontemporary narrative museology, implemented as mul-timedia, interactive, historical exhibitions, is becomingmore and more cinematic, digital, and scenographic, cin-ema museums are increasingly willing to manifest a turntowards matter, emphasizing the physical artifacts of cin-ematographic processes. The author reflects i.a. on theconcepts of Krzysztof Pomian, Aleida Assmann, Mieke Bal,and Andreas Huyssen. They are introduced in such a wayas to show their particular process of decontextualization,manifestation of film itself, their post-cinematic transpo-sitions and paratexts. With the progressive redefinition offilm as a digital, network, modified phenomenon, cinemamuseums will play an increasingly important role as placesof collecting, researching, and showing film techniques be-longing to the past. For this purpose, transhistorical mod-els of film museology have been distinguished: archives,processes, and objects.