Mulvey’s thought is based on developing and understanding an idea from differ-ent angles by always proceeding on the basis of the same or similar problems. Mulvey constantly renews and questions her thought and embraces this ap-proach in her texts. In Afterimages, the dialogic relation between Mulvey’s texts makes possible a mental relationship with the texts and carries traces of the tension between the past and present. Mulvey’s relevance today lies in the re-flective nature of this open dialogic relation between her texts and her thought. Each text carries traces of the previous ones; she returns to the same films with the same thoughts, but without falling into repetition—instead questioning them anew from different angles. Mulvey focuses on the “late style” issue in this book and highlights at least two meanings hidden between the lines: first, the change in her own thought, her return to the same films in her “late work” and, in a sense, her creation of her own late style through these films; second, the subjectivity and interpretation of this late style’s reflection—and, indirectly, the idea of death—in art. Her discussion of this second point contains an implicit criticism of representation policies in film studies and of the search for meaning in “interpretation.” This “late work” of Mulvey’s carries the burden of looking back upon memory, and a bit of melancholy as well; it affirms this transforma-tion and removes the rhetorical veil of endless discussions without becoming trapped in the negativity of today’s populist declaration of the “death of cinema.”