Three terms are joined by the author. History, imagination and writing. The first task at hand will be to understand the close link between history and writing, or writing’s function of standing-for (représentance) and taking-the-place-of (lieutenance). The author then examines the writing of the image, known to be related to an imaginary by virtue of which, undoubtedly, the tupos (the silver print) has been a little too resolutely associated with reality, or its repeatability, and digital pictura (the computer-generated image), which, regarding the archè, has been disconnected from reality. She takes this opportunity to revise the im-materiality associated with the thought of images. She finds that it is not the wealth of the imprints that, at one time, guaranteed the ontology of cinema or, in their absence, its novelty, but rather that, in effect, the cinema offers itself to thought, or that, old or new, it is of the nature of “thinking”.