Summary

The invention of the cinematograph by Louis and Auguste Lumière in 1895 marked the culmination - synthesis, standardisation and industrialisation - of various research carried out in previous years on the decomposition and illusion of movement through a series of fixed shots (Demenÿ, Reynaud, Muybridge, Londe, Marey...). These images are now being reworked by the generation of "post-structuralist" filmmakers, for whom the magic of the device lies in the articulation of two images, which in no way are neutral.