Chapter 2


On this topic see Philippe Marion, Traces en cases: Travail graphique, figuration narrative et participation du lecteur (1993).


See in particular Benoît Peeters, Jacques Faton, and Philippe de Pierpont, Storyboard—Le cinéma dessiné (1992).


Philippe Marion, “Scénario de bande dessinée: La différence par le média,” Études littéraires 26, no. 2 (December 1993): 87.

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André Bazin et al., La politique des auteurs: Les entretiens (2001), 155–56.


These ideas are developed in more detail in Philippe Marion, “Scénario de bande dessinée.”


Aumont appears to share this idea when he mentions Gus Van Sant’s remarks emphasizing (with respect to his “digitized” remake of Psycho) that “he had the opportunity to do what Hitch would have wanted to do but couldn’t, for lack of means.” See Aumont, Que reste-t-il du cinéma?, 64.


This digital storyboard can be viewed online. Our thanks to Olivier Asselin of the Université de Montréal for bringing these examples to our attention.

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Quoted in Nicolas Marcadé, Chronique d’une mutation: Conversations sur le cinéma (2000–2010) (2010), 14.


Information found in an e-mail from the filmmaker and Université de Montréal professor Olivier Asselin to Philippe Marion, March 19, 2013. Asselin also pointed out to us that Avid’s ProTools software program remains to this day the principal editing and mixing software used in film.

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Didier Péron, “Cannes à la croisette des chemins,” Libération, May 11, 2011, 2.

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Stefan Jovanovic, “The Ending(s) of Cinema: Notes on the Recurrent Demise of the Seventh Art,” Offscreen 7, no. 4, (April 2003), online. The title of the article itself announces quite a program!

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See Laurent Le Forestier, “Le DVD, nouveau jouet d’optique?” in In the Very Beginning, at the Very End: Film Theories in Perspective, ed. Francesco Casetti, Jane Gaines, and Valentina Re (2010), 165. There Le Forestier remarks:

Deleuze, as is well known, tried to extend Foucault’s ideas by remarking, in essence, that if Foucault were still here today he would be studying the passage from the disciplinary society to the control society. We might thus offer the following definition: a control society is one in which reading and all creative acts are not imposed but quite simply harnessed, pacified and channeled. From this perspective the DVD, in both its technological and ideological dimensions, is, like optical toys in their day, an exemplary sign of the state of our society.

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