Guest-edited by André Habib

To what extent does experimental cinema’s appeal of technical accidents, ruins and the glitch make it possible to bring out the technical or technological nature of cinema or video and, at the same time, an essential element of the aesthetic history of this other cinema? To ruin, repurpose or derail the “normal” functioning of moving images consists in showing a video as a video signal; in showing a film as emulsion, film stock, material, light, dust; in showing the digital image as pixels, compression algorithms, blocks of colours. Multiple manifestations of accidents and destruction will be explored throughout this book, and by means of a variety of singular examples which, as idiosyncratic as they may be, make it possible to shine a light more generally on the technical and aesthetic issues they raise.