This chapter analyses the reuse of moving images (film footage, cinema, television) in three novels by contemporary French author Jean Echenoz: Le Méridien de Greenwich (1979), Lac (1989), and Envoyée spéciale (2016). It considers transmediation from film (source medium) to narrative (target medium) from the perspective of postproduction (Bourriaud, Postproduction. Culture as Screenplay: How Art Reprograms the World, Sternberg Press, 2006), an artistic practice that invents itineraries through interpreting, reproducing, reexhibiting, or using artworks or cultural productions made by others. The analysis shows that the narratives trigger a “cinematographic performativity” (Santini, Cinéfiction: La performativité cinématographique de la littérature narrative, Textimage 6, 2014), which invites readers to extend the author’s itinerary among moving images and adopt an active position toward the transmedial material. This chapter argues that by spotlighting the film apparatus (projector, television) and spectating position in the narrative, the novels draw our attention to the presence of “materialities with their own epistemic value” (Ebeling, There Is No Now: An Archeology of Contemporaneity, Sternberg Press, 2017, 49). Composite forms like Echenoz’s novels, with their inherent critique of boundaries and relations, and their reworking of media ecologies, question how we can read them as transmedial assemblages, how their transmedial material constitutes and interrogates knowledge categories, and how this material and our itineraries through it participate in building the fiction and our understanding of the real world.