Peter Greenaway, “Peter Greenaway, cinema = dead,” YouTube video, 2:50, filmed interview, posted on June 29, 2007.

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The interview can be viewed at the following address: No reference for this interview is provided on YouTube apart from the fact that it was uploaded on 29 June 2007. By cross-checking in various places on the Internet we have arrived at the conclusion that this interview was recorded for Dutch television, probably during the first STRP festival, which was held in Eindhoven, The Netherlands, in 2006.


From a talk by Peter Greenaway at the Flanders Film Festival in Ghent, Belgium in 1999. Our emphasis. Quoted online at “Peter Greenaway Quotes,”

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This quotation is found in the Internet Movie Database (IMDb), at the following address:


Philippe Dubois, “Présentation” [Presentation]. In Le cinéma gagne du terrain [Extended cinema], ed. Elena Biserna, Philippe Dubois, and Frédéric Monvoisin (2010), 13.


Without anyone using scare quotes all this time, except in very rare instances. Find out more.

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This, at least, is what we believe, although we have not yet verified it. We have found one counter example (“The ‘cinéma’ . . . is dead. What happened to it?”) in a book by Roger Boussinot (Le cinéma est mort. Vive le cinéma! [Paris: Denoël, 1967], p. 44) and another, in which the expression “the cinema” as a whole appears between scare quotes, in the work of André Bazin (“Perhaps ‘the cinema’ was in fact only a stage in the vast evolution of the means of mechanical reproduction”), in “Le cinéma est-il mortel?,” L’Observateur politique, économique et littéraire 170 (13 August 1953):  24 (reprinted in Trafic 50 [summer 2004]: 246-60).


John Belton, “Introduction: Digital Cinema,” Film History 24, no. 2 (2012): 132.


Belton, “Digital Cinema: A False Revolution,” October 100 (Spring 2002): 98–114.

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This article has been reprinted in Marc Furstenau, ed., The Film Theory Reader: Debates and Arguments (London: Routledge, 2010).


Text published on September 17, 2008 on a blog called Thornburglar: “Digital Cinema, a Revolution?”

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The original address was, but the article has unfortunately been withdrawn from the blog. We are attempting to recover the text in order to reproduce it here.


Belton, “Introduction: Digital Cinema,” 132.


Stéphane Delorme, “D’une projection à l’autre,” Cahiers du cinéma 672 (November 2011): 5. Emphasis in the original.


In fact The Skin I Live In was shot in part digitally (with a Panasonic AG-DVX100 camera, a small-scale professional camera) and partly in 35 mm (with an Arricam ST camera). The film was screened in 35 mm in some theaters and in D-Cinema (digital cinema) in others.


In Roger Odin’s words, “The film-film (which has the status of object) is not the film-projection (all the light and sound vibrations produced by the projection apparatus to constitute the ‘imaginary signifier’), which alone grants access to the film-text.” Roger Odin, De la fiction (2000), 154.


One of whose intertitles reads: “Ce n’est pas une image juste, c’est juste une image” (“This is not a just image, it’s just an image”).


Chris Marker, quoted by Raymond Bellour in “La querelle des dispositifs,” Artpress 262 (November 2000): 48.


Belton, “Introduction: Digital Cinema,” 131. Our emphasis.


Because here we required an arbitrary date to distinguish between the eras before and after the arrival of digital media and because no one can say with any precision when exactly the digital era began, we chose a date that is already thoroughly arbitrary and that was determined in a thoroughly unscientific manner: that of cinema’s supposed “centenary.”

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To find out more about why one might contest the legitimacy of the year 1895 as that of the birth of cinema, and thus 1995 as the year of its centenary (a question to which we return in chapter 5 of The End of Cinema?), see in particular André Gaudreault, Film and Attraction: From Kinematography to Cinema, trans. Timothy Barnard (Urbana: University of Illinois Press, 2011 [2008]).


Will Self, “Cut! That’s All, Folks,” The Times (London), August 28, 2010, 2.


DVD stands for digital versatile disc.

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