We began by reminding ourselves of the novelty of cinematic time we had first approached through the texts of Doane and Kittler in our first meeting in order to understand how filmic narrations differ from literary narrative. Then, we began our discussion of central films that treat accidents and catastrophes by taking a close look at Buster Keatons first film after he signed on with a large studio, The Camera Man from 1928. We read this film first as an archeology of the medium of film because it is the story of a poor young man who makes a living by producing tintypes, a precursor of the photograph in the streets of NY. He falls in love and because his love works as a secretary in a film office producing newsreels, he begins to aspire to become a camera man. Social ascension and professional development lead us through the making of a camera man, who, according to the film, is a heroic figure as the images from WWI show. War and urban disasters such as gang war and major fires are the themes that allow film to showcase the making of film as the creation of an actuality that transform sensation into history. Figures such as the ape that takes on the east of filming and through whom the final revelation of truth becomes possible, add to this intricate reflection on film. At the same time, the film is also a story about an immunization in the context of modern urban space. While this film was a silent movie made right before sound, Brian de Pamla's Blow out is a film about the making of films from the vantage point of sound. It shows how an accident turn out to be a assault that goes wrong, so that what at first appress and accident is firs revealed as part of a scheme into which can accident of second order intervenes. It is sound that allows the song engineer to detect that a blow out was really caused by a gun shot. Both films are a reflection of contingency and the accidental in its relation to the making of film.