As the twentieth century became the twenty-first, distinctions between media could no longer be taken for granted. The prevalence of digital media, which convert the signals and traces they record into the same type of numerical code, leads us to reconsider the connections between different forms of representation. It has also, arguably, paved the way for a greater degree of hybridity in art than ever before. From electronic books to interactive films on the internet, new ways of combining and receiving text and images are constantly being proposed and sought, so that it sometimes becomes difficult to know how to refer to, describe, or interpret a particular object. We might think we know what books and films are, but what about Chris Marker's CD-ROM Immemory (1997)? Raymond Bellour locates this autobiographical, digital collage in the tradition of the literary self-portrait. Yet the focus on images and juxtaposition also points to cinematic montage and hyperlinks recall internet navigation, creating a ‘web’ of quotations from other works, textual musings, and digitally processed images. Marker is not the only acclaimed French filmmaker to experiment with different ways of disseminating ideas through images and text. Veterans of the nouvelle vague, Jean-Luc Godard and Agnès Varda both held major installation exhibitions in 2006, taking their work into three dimensions, and exploring some of the possibilities of hybridity and interactivity that have become associated with new technologies. If we ever dreamed they were stable, the boundaries between the arts increasingly seem illusory.