Chapter 3


Aumont, Que reste-t-il du cinéma?, 75.


Ibid., 82–83.


We use the word epiphany in its sense derived etymologically from the Greek verb phaino: “to appear, seem, be seen.” One could also speak here of cinephany, borrowing the fine neologism coined by Marc Joly-Corcoran, based on Mircea Eliade’s model “hierophany,” meaning “emergence of the sacred.” See Marc Joly-Corcoran, “La cinéphanie et sa réappropriation: L’‘affect originel’ et sa réactualisation par le fan, un spectateur néoreligieux,” (PhD diss., Université de Montréal, 2013).

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Instead of cinephany, it would perhaps be better to speak of cine-hierophany as a way of preserving the sense of the sacred (hieros in Greek) in the name, all the more so in that what is at stake in our comments is this “sacred” quality that films seen in movie theatres have for cinephiles and the “desacralisation” of cinema brought on by the advent of digital technology. On this note, we cannot avoid mentioning the neologism “filmophanic” coined by Souriau (to describe “every aspect of the presentation of a film projected for viewers in a movie theatre”), a term that has a fairly direct connection (projection, viewers, movie theatre) with the issue that connects the elements we discuss here. See Étienne Souriau, “Préface,” in Étienne Souriau, ed., L’univers filmique (Paris: Flammarion, 1953), p. 8.


Magali Boudissa, “La bande dessinée entre la page et l’écran: Étude critique des enjeux théoriques liés au renouvellement du langage bédéique
sous influence numérique” (PhD diss., Université Paris 8 Vincennes-Saint-Denis, 2010), 58.

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It is also possible to explore in greater depth this topic and the specific questions to which we refer here by consulting Magali Boudissa’s article “La bande dessinée entre la page et l’écran: vers un renouvellement narratif de la BD à l’ère des technologies numériques,” Cinéma & Cie. International Film Studies Journal 14-15 (Spring-Fall 2010): 85-94.


On the notion of screen amnesia, see Raphaël Lellouche, “Théorie de l’écran,” Traverses 2, (April 1997).

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The article can be found at the address In it the author describes the “outward face” of the “screen object support” in the following terms: “an animated, abstract and magic surface, an amnesiac surface which captivated with a luminescence we didn’t know before, one so different from the archaic light of the traditional lamp emitting light from a centre. Creating a sheet of electronic light, it also creates an experience unlike our most deep-rooted relations with surfaces.”


Boudissa, “La bande dessinée,” 63.


Ibid., 94.


Guido and Lugon, “Introduction,” Fixe/animé, 12–13.


Guido and Lugon, “Introduction” Fixe/animé, 22. Gunning’s article is entitled “L’instant ‘arrêté’: Entre fixité et mouvement,” 37–46.


Guido and Lugon, ibid.


On this topic, see the video Last Call by 13th Street the First Interactive Theatrical. Available on YouTube.

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The video can be found at the following address:


Olivier Asselin, “The Thrill of the Real: On the Use of Metalepsis in Mixed-Reality Film and Games,” paper presented at the Magis Gorizia Spring School, Gorizia, Italy, March 2013). Quoted with permission of the author. Forthcoming in Post-photographie, Post-cinéma, ed. Philippe Dubois and Beatriz Furtado.

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