The End of Cinema – A Medium in Crisis in the Digital Age

This is the metaphor used by Pierre Musso in his text “La ‘révolution numérique’: Techniques et mythologies” (2010, p. 6), a manuscript accessible online on the site of the Institut Mines-Télécom. (Published in La Pensée 355 [2008]: 103–20.).

Marie-Julie Catoir and Thierry Lancien, “Multiplication des écrans et relations aux médias: De l’écran d’ordinateur à celui du Smartphone,” MEI (Médiation et information) 34 (2012): 56.

Here we might think of information storage sites such as MegaUpload, which gave rise to a complete political and legal saga.

Jeremy Rifkin, The Age of Access: The New Culture of Hypercapitalism, Where All of Life Is a Paid-for Experience (2001).

Michel Marie, personal e-mail to André Gaudreault on March 9, 2013.

Philippe Dubois, L’Acte photographique (1983), 9.

Laurent Le Forestier, “Le DVD, nouveau jouet d’optique?” in Francesco Casetti, Jane Gaines, and Valentina Re, eds., In the Very Beginning, at the Very End: Film Theories in Perspective (Udine: Forum, 2010), 163.

W. J. T. Mitchell, Cloning Terror: The War of Images, 9/11 to the Present (2011).

Philippe Marion, moreover, has previously distanced his work from that of Philippe Dubois by rehabilitating the photograph’s iconic dimension
as a “mechanical” capturing of reality and by reserving indexicality for the graphic line (at work in the graphic novel, contiguous with the artist’s
gesture). See Traces en cases: Travail graphique, figuration narrative et participation du lecteur (1993).