Be a cinemaddict emancipated from the French New Wave does not mean to reject its legacy. It means conceiving this legacy as one way to understand cinema: this way pay attention to the mtters of representation. There is an other way to conceive the importance of the cinema: it consists at paying attention to the many ways the cinema question any shape of experience. We call this way "pragmatic cinemaddiction"; it finds roots in Deleuze's and Cavell's theories. The "pragmatic cinemaddiction" analyze the frames of experience and aims to connect vary modes of symbolic relations in the public space. This way of thinking cinema has not just an hermeneutic reach: it characterizes the foundation of Luc Moullet's and Arnaud desplechin's work.
