The literary approach of Seuils does not account for the whole paratext’s dimension, as for example the image (the paratext includes several types of signs, including visual signs), the temporality of the paratext (the paratext is not a homogeneous block, but a “chain” of units and the order in which these units are presented is important), the editing of various paratexts(what is the paratext of a work “included” in a magazine, for example: that of this work, that of the magazine, that of the other parts of the magazine?), the difference between “direct” and “indirect” paratext (should we consider the advertisements in a magazine as part of the paratext of the work?), etc. The example of cineromanzo can help us to interrogate and illustrate these kinds of issues that broaden the approach of Genette. After a brief presentation of the genre of ciné-roman-photo, this article attempts to describe the main differences, both in form and function, between the traditional paratext, the one found in a book of legitimate production, or canonical, and the paratext of the “industrial” literature that is the ciné-roman-photo.