This paper focuses on the relationship between cinema at its beginnings and the turn-of-the-century variety of the supernatural, that is, on the way the codes of the traditional relationship to the supernatural were first set upon and modified by other arts before being taken up by the nascent art of cinema. At stake is to stage the disappearance of the supernatural: modernity introduces itself into fairy-tales to create a supernatural for the use of adults, depravation wins over innocence. The fairy was discredited : she lost her powers and invited to laxity, to eroticism. The habits of the time were also inclined to the inversion of values: film directors exacerbated the interest in accessory and accessories. The scientific approach to the supernatural, last but not least, rationalised anything extraordinary. Machines made the supernatural commonplace, forecast its uselessness, with this paradox that cinema at its birth renewed the codes of the supernatural while announcing its extinction.