The Call for Papers invokes a history of thinking about images in terms of Western traditions, culminating in the 'apocalyptic discourses of today's cultural climate' Jacques Rancière describes in "The future of the image" (2007, p. 1). Not considered in this scenario are other ways of looking at, being moved by, thinking about, going with and feeling through images, which I will unfold in this paper. Starting with filmmaker Merata Mita from Aotearoa New Zealand, who contrasts living images of her ancestors in documentaries, 'very much alive' to her, with outsiders' selective collecting of those images (Mita, 1992); linking with Natalie Robertson's (2019) tracing of "takiaho" (relational cords), by which descendants keep connections with their ancestors in film fragments alive; I will also remember Aby Warburg's notion of "Nachleben" -- the 'survival', 'continuity' and 'metamorphosis' of images and motifs (Didi-Huberman et al., 2003, p. 273), and finally engage Mitchell's (2009) consideration of a road not taken by Rancière in contemplating "The future of the image." The paper explores a range of experiences, actions, reflections and emotions bundled in the terms "appropriation" and "iconicity": from engaged encounters to consumptive misuse in the first case, from fleeting celebrity fame to a particular form of material presence that contributes to identification and community building (Bartmanski & Alexander, 2012; Engels-Schwarzpaul, 2017; Refiti, 2015) in the latter. By bringing Maori and Pacific ways of thinking together with minor European thought traditions the paper shows that images, as appearance into visibility and doability, can not only connect the imagination with reality. They can also open up new and old realms of possibilities through affective and effective iconicity. Whether or not this can happen depends on the prevailing kind of belonging.