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The moving picture does not apply just to the presentation of landscapes and societies that have disappeared but also to the the investigation of any human production simultaneously from its anthropological, sociological and historical viewpoints. How therefore can the mining and industrial landscape be made to reflect a bygone temporality, through motion picture and its various film genres ? In what way does the cinematic transmission passing down this temporality, like an inheritance, immortalize the representations of the society over the course of successive decades? Through the study of an original commemorative site (Nora, 1984) the film, the representations of a mining and steel-making landscape, now disappeared, emerge as a stage setting for portraying memory.