ABSTRACT
This chapter addresses commissioned industrial film by enquiring how Éric Duvivier organized the production and distribution network of ScienceFilm from the 1950s to the 1980s. Following the indirect structure of the medical sector, PR is often directed at professionals and ScienceFilm productions navigate vague boundaries between promotional and educational film, with the first intentionally mimicking the second, which is considered as a first meaning of “cinema as a parasite form.” A second viral-parasitic form and level of investing and hijacking intentions is opened by filmmakers creating commissioned industrial films that were also circulated in experimental avant-garde cinemas in Paris in the 1970s. This parasite film form – promotion as education, parasitized itself as industrial commissioned experimental art film – is here portrayed.
