Since cinema has entered the digital era, its very nature has come under renewed scrutiny. Countering the 'death of cinema' debate, Film History as Media Archaeology presents a robust argument for the cinema's current status as a new epistemological object, of interest to philosophers, while also examining the presence of moving images in the museum and art spaces as a challenge for art history. The current study is the fruit of some twenty years of research and writing at the interface of film history, media theory and media archaeology by one of the acknowledged pioneers of the 'new film history' and 'media archaeology'. It joins the efforts of other media scholars to locate cinema's historical emergence and subsequent transformations within the broader field of media change and interaction, as we experience them today.

For decades before the internet existed, scientists, technologists, novelists, and enthusiasts of all descriptions dreamed of instantaneous, worldwide communication systems. What forms such systems might take and what technologies could be used to accomplish this goal were open questions—questions asked by people around the world, including in the Cold War–era superpowers of the United States and the Soviet Union. 

Media archaeologist Natalia Konradova examines the history of the internet in Russia and its predecessor state, cutting through layers of technological history and dusting off conceptual artifacts of the past. Inspired by the fundamental question of how Soviets imagined future technologies, she investigates experiments with telepathy alongside the (then equally improbable) dream of a global, digitally connected computer network. Since the story of the Russian internet is inextricably wound up with Soviet society and the history of the Cold War, Hacking the Iron Curtain is as much a cultural and political history as it is a technological one—a history that illustrates how collective dreams can challenge geopolitical ambitions and inspire world-changing technologies.