ABSTRACT
At the end of the nineteenth century two newmachines almost simultaneously saw the light of the day: the Lumière brothers’ cinematograph and the airplane (see Morin 2005). Both were technologies of mobility, allowing for movement between different spaces. While the airplane realized themost archaic dream of humans to have wings, the contribution of the cinematograph was constrained to merely reflecting images as realistically as possible. Soon, however, the roles were reversed. The airplane became a practical means of travel, of commerce andwar, while cinema, allowing for escape from themundane world, gradually became a provider of dreams (ibid.: 5-6).
