If filmology, for its part, has not shown much interest in films, it has significantly contributed to the shift in film theory's center of gravity by determining it in relation to certain “scientific” achievements, and, despite the generality of its stakes, has sometimes wound up touching several levels of textual singularity—and above all reviving a concern for method, which will have more or less long term direct effects on the analysis of film, thanks to a progressive displacement at work from filmology toward semiology.