本文最初的構思源自1980年代末期，是作者(Raymond Bellour)為法國龐畢度國家藝術和文化中心現代美術館 (Musée national d'art moderne, Centre Georges Pompidou) 籌劃策展《影像之過渡》 （Passages de l'image, 1989年9月12日－1990年1月13日），並為編纂展覽圖目而撰寫的導言之一。當時本文作者與凱瑟琳．達衛 (Catherine David) 及克莉絲汀．馮．阿瑟 (Christine van Assche) 合作、共同籌劃策展的《影像之過渡》，可以說是第一個最早涵蓋攝影、錄像、電影、裝置、數位影像的展覽，除了在展覽廳展出一系列（照片、錄影帶、裝置）重要的作品外，並在放映廳放演重要作品之片段的回顧。而顯示在裝置作品內之錄像紀錄文件呈現出從電影到錄影帶發展過程的重要契機，而介乎此二場域之間的轉換過渡，卻始終遭到忽視。本文以「雙螺旋」(la double hélice)為題的意象，借自分子生物學，為的是集中探討確定關乎影像(圖像)(images)之新的情境的三點特質。有關影像 (圖像) 之新的情境，本文作者在另一本與展覽同時出版的論文集之內，則稱之為「介乎－圖像」(entre-images)。一方面藉以重新界定受到視訊(錄像)的圖像及數位影像之影響、而遭受改變的類比概念：基本上類比的認定依據，在於其與被表象之實在界的差異程度。另一方面，無論依據照片拍出來的電影，或是藉由定格、創製混合空間的種種形態、而得以增生的影像，在在令人日益感到靜態圖像和動態圖像之間的紛亂糾結的關係。最後，這種變動意味著語言與圖像之間的新關係變化，包括語言與圖像的互動作用、語言與圖像彼此之間的相互穿透，因而造成的新關係的變動。本文試圖釐清介乎圖像之間的新關係，一如釐清介乎文字與圖像之間那樣的新關係，並舉個別具體作品為例以闡釋其意義，其中包含雷利．史考特 (Ridley Scott)、大衛．拉赫爾 (David Larcher)、克利斯．馬克 (Chris Marker)、提耶希．康澤 (Thierry Kuntzel)、傑夫．沃爾 (Jeff Wall)、比爾．維歐拉 (Bill Viola)、蓋瑞．希爾 (Gary Hill)、高達 (Jean-Luc Godard) 等之作品。

This essay has been conceived in the late 1980 as one of the introductions to the catalogue of the exhibition Passages de l'image (Musée national d'art moderne, Centre Georges Pompidou, Septembre 12, 1989-January 13, 1990). Raymond Bellour has been one of its curators (with Catherine David and Christine van Assche). This exhibition has thus probably been the first to confront photography, cinema, video and digital image, by showing an important series of works (photos, video tapes, installations) in the gallery space as well as an important film retrospective projected in a theatre. A video document shown inside one of the installations presented an editing of significant moments from films and video tapes, developing thus the transition often too neglected between those two spaces. The purpose of the image of the double helix, borrowed from molecular biology, is to gather the three main features which define a more or less new status of the images, which Raymond Bellour has elsewhere called “entre-images” (in a collection of essays published simultaneously with the exhibition). On the one side, it is a matter of redefining the notion of analogy modified as well by the video than the digital image: The analogy is mainly conceived accordingly to its degrees of differentiation relating to the reality represented. On the other side, one can feel a very confusing intertwining between the still and the moving image, through films made out from photos as well as through the multiplication of the frozen frames and of various modalities creating mixed spaces. Finally, such a mutation implies new relationships between language and image, through their interactions as well as through their interpenetrations. This essay attempts to enlighten these new relationships between images and between words and images, through a series of works taken more specifically as examples: from Ridley Scott, David Larcher, Chris Marker, Thierry Kuntzel, Jeff Wall, Bill Viola, Gary Hill, Jean-Luc Godard.