Cinema may be called a bastard art in both meanings of the word: because it is usually defined as a hybrid art form, obviously, but also, and perhaps more importantly, because it has been able to become formally as well as generically innovative mostly through adulterous relationships, thus making illegitimacy its grounding principle by preferring a blurred lineage to a legible succession. Trying to find what film is referred to in a sequence, therefore, amounts to establishing a clear family tree, which takes no account of the illegitimate unions, natural children and forgotten ancestors that are nevertheless part and parcel of film history. If that quest should still be conducted, its object, it seems, should not be one sole point of reference. The aim of this book is to create the opportunity of studying, and perhaps of rehabilitating, those shadowy corners of cinematographic creation and film memory, and to provide film studies, but also literature and Arts studies altogether, with a newly productive way of using such familiar notions as difference, quotation, reference, blending, hybridity, miscegenation or crossbreeding.