The concept of intertextuality has proven of inestimable value in recent attempts to understand the nature of literature and its relation to other systems of cultural meaning. In iThe Memory of Tiresiasi, Mikhail Iamposlki presents the first sustained attempt to develop a theory of cinematic intertextuality.br br Building on the insights of semiotics and contemporary film theory, Iampolski defines cinema as a chain of transparent, mimetic fragments intermixed with quotations he calls textual anomalies. These challenge the normalization of meaning and seek to open reading out onto the unlimited field of cultural history, which is understood in texts as a semiotically active extract, already inscribed.br br Quotations obstruct mimesis and are consequently transformed in the process of semiosis, an operation that Iampolski defines as reading in an aura of enigma. In a series of brilliant analyses of films by D.W. Griffith, Sergei Eisenstein, and Luis Buuel, he presents different strategie