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.

We live in an era of screens. No longer just the place where we view movies, or watch TV at night, screens are now ubiquitous, the source of the majority of information we consume daily, and a crucial component of our basic interactions with colleagues, friends, and family. This transformation has happened almost without us realizing it-and certainly without the full theoretical and intellectual analysis it deserves. Screens brings together scholars from a variety of disciplines to analyse the growing presence and place of screens in our lives today. They tackle such topics as the archaeology of screens, film and media theories about our interactions with them, their use in contemporary art, and the new avenues they open up for showing films and other media in non-traditional venues.