Abstract
The pioneers of French cinema founded the audiovisual language which allows narratives with moving images, while developing techniques of capture and editing, recording and representation, sequence and superposition of shots, multiple exposure frames, of appearance or disappearance. For Morin, this ghostly duplication of the world by the cinematographic image is motivated by the symbolic image of the double, which brings together dreams and cinema. In this article we discuss such symbolism in empirical reference objects of this initial moment of the Seventh Art.
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