O ver the past decade, the drive toward digitization and online access has created new means of disseminating Latin American cinema and documents relating to its history. From personal blogs on film history that are richly illustrated with period images to new data-based scholarship, especially in the field of early cinema, the scholarly and popular interest generated by digital archives is abundantly clear. Yet digital remediation and access (re)produce methodological challenges that are especially thorny in the case of Latin America, where the scarcity of financial resources and the often vexed relationship between cultural institutions and the state have often rendered archival preservation fragmentary and politically fraught. Digitization exemplifies a fundamental archival dilemma: the frequent incompatibility of preservation and access. Just as celluloid is a superior preservation medium for moving images, microfilm remains readable longer than digital files, and a digitization-only policy threatens the long-term survival of documents. Furthermore, by striving to make ubiquitous, on-demand access the norm, digitization can compound the archive’s elision of its own gaps and silences—what Jacques Derrida called the anarchive. In his influential Archive Fever, in part a reflection on the digital, Derrida argues that the material impermanence of all archival storage makes it impossible to separate the drive for preservation from the “violence of forgetting.” Referring to the physical substrate of archives, he writes, “right on that which permits and conditions archivization, we will never find anything other than