Mnemocine examines the specific memory knowledge of film and its effects on remembrance. The starting point is paradoxical: the camera eye, which has been praised for its ability to see without the disturbance of memory, relies on the interplay of remembering and forgetting in order to take shape in cinema. Thus, cinema becomes a place where memories and complex experiences of time are not only represented and simulated but also created and stimulated. Mnemocine reconstructs this experimentalization of memory at the site of cinema and investigates the specific filmic psychogenesis. The book traces the connection between cinema and memory, intertwining them in a consistent manner. Through a thorough interweaving of the internal and external, mentality and mediality, psyche and technology, a film-based morphology, phenomenology, and pragmatics are developed.