Abstract: Based on what the author has called "econology" - a thinking of images as non-organic life forms having relations between themselves and their environment that are not limited to human accessibility – this article makes two arguments. First, there are links between the Warbugian iconology and the theoretical statements of new genetic biology. Second, it shows how cinema has renewed, through its Darwinism of metamorphoses, the program of an "epigenesis" of figures.
