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In The Mechanism, we follow Josefine Baark’s research journey as she seeks to unveil the global networks, games and friendships that resulted in a mechanical tableaux made in China in the 1730s and then brought to Denmark. The film serves two purposes. First to reveal the historical significance of putting objects centre stage in art historical research, even where written documents are lacking. Second, to advance current methodological discussions regarding the use of video techniques for generating research outcomes. The Mechanism argues for a reassessment of cinematic materiality and in correspondence with this, of the research process.