There is not a trace of cinema in "Remembrance" (1978) by Nikola Djuric, only the material traces of the film strip which signify the unexposed memories of a dying format.
Perhaps the inverse of "Remembrance" is the"ĎFat Film" (1984) by Miroslav Bata Petrovic, which consists of multiple film strip fragments glued onto a master strip, creating a very materialist expanded cinema, an excess of cinema.
Sijanís Film Leaflet #32 (1974) evokes the idea of a master strip in the service of creating a master code, a form of abstract visual criticism which expresses the auteurist rhythm of John Ford.
Man Rayís "Dumb Poem" (1924) also presents a code for charting an alternative cinema.
Can you see this code at play in Aleksandar Vucoís and Dusan Maticís "The Frenzied Marble" (1930)? Look closely, and you will find all of the material and ideological possibilities of a cinema by other means present in this dynamic assemblage.