Keywords

• It would be difficult to situate cinema
• in the sense of institutional cinema
• in a chart whose purpose would be to illustrate the various allographic and autographic aspects (in the sense Goodman and Genette use these terms) of different art forms. Cinema is a complex art in which
• like in a rhizome
• various expressive means
• channels of transmission
• systems of notation and modes of execution overlap. The task is even bigger with respect to the body of films known as early cinema
• or rather kine-attractography. Early cinema is a hundred times more rhizome-like than institutional cinema
• because it involves a number of â€
• œ
• performativeâ€
• 
• gestures (live music or commentary
• etc.) whose effect is to multiply the sites of creation or authorship. Kine-attractography involves both allographic recording (because it is purely instrumental) and the autographic performance of a given actor
• even though anonymous
• in an execution-screening complemented by equally autographic performances by live figures. Hence
• the difficulty in identifying the underlying system joining the various instances at work in such situations. Just as photography rhymes with allography
• cinema is a photographic art before it is an autographic one