Keywords

• Palimpsestes dealt with expectations of the theory of the cinema. However
• the new postmodern terminological uses overshadowed the definitions
• stemming from the poetics
• by opening up these categories of references and by devoting a large part to the affective colour
• such as irony or neutrality. The problem is that these affective colours prove subjective and correspond to the particular phenomena of reception. On the contrary
• the approach of Genette about parody and pastiche film contributes to a better understanding of these phenomena. In this paper
• I suggest that this understanding requires an adaptation to the specificity of the cinematic medium