ABSTRACT
The epistemological approach to film technology is further developed through the study of a key moment: the first patents and projects describing some sort of ‘cinema’ machines as early as the 1860s. Discussing the place of these within media historiography (Sadoul, Bazin, Frizot, etc.), two of these apparatuses are analysed in their context with the greatest possible precision. Approached through the combined perspectives of Simondon, Bachelard, and Canguilhem, they allow the construction of the concept of ‘problem’, which is central to an epistemology of machines.
