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The professional branch has been the predominant normative space in the film and audiovisual industries since the 1990s. This observation contrasts with the recent reforms of labour law, which make the company the central body for the formulation of law, in order to adapt it continuously to the fluctuating demand. This paradox leads us to question the function of legal benchmarks set at the branch level in a project-based industry. To this end, we look back at the way in which actors in industrial relations have invested this level of collective bargaining in recent decades, the framing of the activity that has resulted from it and the reasons for its stability in the course of contemporary productive recompositions.

The article provides information on the conflict between union leadership of CGT of film and television production (SNTPCT-CGT) and part of union members made up of intermittent technicians working mainly for television. Topics include configuration of collective bargaining, audiovisual technicians and moving image production.

The article discusses the collection of photography assembled by Canadian-French collector, archivist, and artist Raphael Zarka on the subject of skateboarding inspired by public sculptures and monuments. Topics discussed include background on Zarka and his collection, the connection between art history and art theory of 20th century French Dada and Surrealist artist Marchel Duchamp and the parameters of art as defined by the genre of skateboarding photography, and Zarka's previous publications of skateboarding photography. The article includes multiple images.