Chapter 2


Jacques Aumont, Que reste-t-il du cinéma? (2012), 55.


Ibid., 12.


Ibid., 56. Despite the distance we place between us and some of Aumont’s hypotheses and opinions, we readily adopt these terms, which appear to us to be ideal for describing images today.




Ibid., 60.


The official site can be consulted online.

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Definition of twitterature on the site of the Institut de twittérature comparée.

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The definition is found at the following address:


See the article by Fabien Deglise entitled “Des Nouvelles inédites en 140 caractères,” Le Devoir, February 2, 2013, announcing the online publication of 25 histoires 25 auteurs en 140 ca. (edited by Fabien Deglise).

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The article is accessible on-line (; the collection can be downloaded free of charge from the above site or at the following address:


See Richard Bégin, “Mobilogénie du désastre,” Artpress 2, no. 29 (May 2013): 50–52. “Mobile digital devices thus make possible in a sense a form of writing particular to disaster; more precisely, they inscribe the mobility of the witness. The disaster aesthetic thus requires a ‘mobilographical’ study which would make it possible to understand how an event is constructed by individual mobility alone, inscribed by the portable device. The ‘mobilography’ of disaster informs us in this sense of the undeniable aesthetic contribution of the ‘smart’ mobile digital device.”


We might mention, as has been pointed out to us by Sophie Rabouh of the Université de Montréal and Université Paris 1, the mobile telephone application Vine, on Twitter makes it possible to share videos of a maximum six seconds in length by playing them in a loop. The Tribeca film festival has recently placed these Vine films in competition and created an award for them.

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Artistic creation and the mobile telephone was a topic addressed at the conference “Téléphone Mobile et Création: Cinéma, vidéos, écriture, jeux, musique, applications” (Université Paris 3 and IRCAV) organized by Laurent Creton, Roger Odin, Laurence Allard and Benoît Labourdette. The following is an excerpt from the description of the conference:

“Mobile telephones are used around the world to communicate verbally, in writing and with still or moving images in a number of fields: everyday life and social and family life, but also business, finance and health, without overlooking the artistic field. Paradoxically, the area of artistic creation using mobile phones has until now been little studied. Speaking of artistic creation with respect to the mobile phone cannot be reduced to cataloguing recognized artistic uses, even if such works will fully be a part of this conference. Several festivals, for example, have given impulse in a pioneering manner to the creative use of the mobile telephone’s video capabilities: making cinema with one’s phone. By examining the mobile telephone from the perspective of artistic creation, we hope to broaden the field of stakeholders, spaces and practices by taking into account the fact that the mobile phone is, for example, the most common movie camera in the world, the most widely used writing technology in the world and the main mode of Internet access in many countries (in Egypt, for example, 70% of the population has Internet on their mobile only).”

The site of the conference is accessible at the following address:


Serge Kaganski and Jean-Marc Lalanne, “Entretien avec David Lynch: ‘Mes films sont mes enfants,’” Les Inrockuptibles 830 (October 26, 2011).

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Kim Nguyen’s film Rebelle (War Witch, 2012), nominated for an Academy Award as Best Foreign Picture (Canada) in 2013, is one film that has been shot with this camera.

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On the topic of the Arriflex Alexa, see for example:


D. N. Rodowick, The Virtual Life of Film (2009), 166.


Ibid., 173.


Jacques Aumont, Que reste-t-il du cinéma?, 62.


Ibid., 63.

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