Post-cinema designates a new way of making films. It is time to ask whether this novelty is complete or relative and to evaluate to what extent it represents a unitary or diversified current. The book proposes to integrate the post-cinema question within the post-art question in order to study the new ways of making filmic images. The issue will be considered at three levels: the impression of post-art on "regular" films; the "relocation" (Casetti) of the same films that can be seen using devices of all kinds in conditions more or less removed from the dispositif of the theater; the integration of cinema into contemporary art in all kinds of forms of creation and exhibition, parallel to the integration of contemporary art in "regular" cinema.
Contributions by: Dudley Andrew, André Gaudreault, Philippe Marion, Céline Scemama, Victor Burgin, Giovanna Fossati, Annie Oever, Christophe Génin, François Jost, Malte Hagener, Francesco Casetti, Andrea Pinotti, Miriam Rosa, Gabriela Rivadeneira Crespo, Dominique Chateau, Richard Conte, Christophe Viart, Eugénie Zvonkine, Gérard Courant, Wang Bing
