This essay examines the contemporary presence of 16 mm in the gallery to argue that anxieties concerning the obsolescence of celluloid have led to a recent proliferation of filmmaking practices that posit the medium specificity of film as linked to the ephemeral, the spectral and the remembrance of failed utopias. Using the work of Tacita Dean as a primary case study, it argues that such work agitates against the homogenizing thrust of convergence to produce a new conception of the medium, cloaking it in a patina of preciousness and rarity. Transfigured by the light of technological change, film now becomes a privileged locus of historicity and takes on something it was once said to destroy - aura. This essay will probe the implications of such a cinematic migration, questioning what is at stake in this fetishization of celluloid within the gallery walls and exploring how convergence, rather than vitiating the notion of medium specificity, might in fact allow for a new understanding of it.