
| Économies du référent 1. Forme fossile. Sur Algonquin Park, Early March (Mark Lewis, 2002) |
| Économies du référent 2. Souvenirs d'une forme balade. Autour de Listen to Britain (Victor Burgin, 2002) |
| Économies du référent 3. The "Mapping Impulse", or the Cartographic Reason of Contemporary Images |
| Économies du référent 4. La fausse monnaie. Two Impossible Films (Mark Lewis, 1995-1997) |
| Économies du référent 5. Archéologie des profondeurs. Autour d'une installation de Mike Kelley |
| L'Exposition est-elle devenue le lieu de la disparition? "Site Specific Cinema" chez Doug Aitken |
| From the Archive to the Gallery. Displacing Colonial Footage in the Work of Fiona Tan |
| Histoire élargie du cinéma ou histoire du cinéma élargi? |
| How "Found Footage" Films Made Me Think Twice about Film History |
| Methexis et parergon dolens. A propos de la Via Dolorosa de Mark Wallinger |
| Présentation |
| Projects & Abstracts |
| "The Cinema Is the Theatre, the School and the Newspaper of Tomorrow": Writing the History of Cinema's Mobility |
| The Filmic Experience: A Map |
| Gustave Cauvin, the Inventor of Educational Cinema |
| The Last Supper in Piazza della Scala |
| Le Portrait d'Albert Schweitzer par Eugene. Les ruses de l'invention ou l'art des correspondances facilitées |
| Projects & Abstracts |
| Re-spatialization of Filmic Representation: Connected Spaces |
| Site Specific, Placeless. Reflections on the Relocation of Cinema Onto Video |
| To Look, To Wander: Cinema in Installations |
| Virtual Screens. The Relocation of Cinema in Second Life |
| Where Is Cinema (Today)? The Cinema in the Age of Media Immanence |