The link between cinema and literature, even starting from different bases, is evident in the authors of the French avant-gardes of the early twentieth century, through poetic techniques that herald the mechanisms not only perceptive but also instrumental of the Seventh Art. These authors, lacking a true cinematographic background, tried to invent a literary form - with prevalence of images and symbols on words - in some way adequate to the cinema. They conceive their films as parallel redactions of free and autonomous literary structures that cannot be ascribed between the novel or the drama.

Inism surpasses what has so far characterized the old avant-garde: the revolt plan: not a revolution, but the overcoming of every tradition, of every attitude towards poetic material. The letter becomes in Inismo, the beginning of an "infinitesimal" process. It is therefore the passage "from the verse to the word, from the word to the letter, from the letter to the phoneme" which establishes the basis for the recognition of the universal language and the overcoming of traditional isms.

At the threshold of the 20th century, Alphonse Allais is a humorist, inventor, but also a prophet. His "poetic imagination", as defined by André Breton who reserves him a place in his "Anthology of black humor", is applied to weave the most absurd inventions, but also the most recent technical inventions.
Tireless researcher, he also likes to invent a humorous language capable of transcribing the quintessence of real things. The potential of language interests him as much as the potential of any object. Eclectic spirit par excellence, Allais touches, indeed, all areas of creativity.