In his work Vidéo Pong, Djeff Regottaz questions the relationship between video games and video. For that end, he uses Pong as an “Engine of Narration” [D.R.] by coupling the game events as a control element to Jean-Claude Mocik's film, “Paris Solo version Dix sur Dix” (1995). In his experimental film, Mocik captured ten locations in Paris. He used a robot which put the locations on film using predetermined geometrical shapes. Each of the ten sequences is exactly the same length. The Vidéo Pong player views the film's logic through the spectacles of the video game in which he actively participates. The synchronisation of the camera movements with the game events can also be viewed as a confrontation of two different contexts whose solution is passed as a question to the visitor/player.