This article focuses on the uses of electronic color in Michelangelo Antonioni’s Il mistero di Oberwald (1980). The film belongs to the first cinematic works which use electronic devices and experiment new film techniques with them. Among them there are also 200 Motels, Parade, Steppenwolf, etc. At a time when cinema is digital, the study of this corpus allows to re-examine the change from a technology to another, from celluloid to digital. By choosing an archaeologic viewpoint inspired by Foucault, this article proposes to study several statements first about analog video, and then about digital video, in order to make a comparison and to identify both differences and similarities. Such a method, above all concerned with the circulation of ideas, gives the possibility of avoiding the trap of teleology and of reassessing the place of “electronic cinema” in history.