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In ‘What is Post-Digital’, Florian Cramer points out how many media considered ‘analog’ have “recently been resurrected as post-digital devices”: analog film, typewriters, vinyl records etc. However, he argues that even the categories of ‘analog’, ‘digital’ and ‘post-digital’ are not rigidly constructed: 1) many of these technologies feature a blend of digital and analog features 2) their assignment to a particular category often depends on context of use and cultural perception. Todd Haynes’ Superstar: The Karen Carpenter Story is an interesting example to consider in this context. The movie is made using analog film, but its affective, cult value can be associated with the post-digital fetishization of physical film, and the deterioration that results from its illicit reproduction. At the same time, its cult value has persisted — and has even intensified in certain ways — even when its circulation has shifted from VHS tapes to digital channels like YouTube. These classifications, then, seem to depend on our affective relationship with the technologies rather than their technical nature.