ABSTRACT
This chapter begins by presenting a simple model that maps some salient positions on the topic of cinema as philosophy, including the very strong claims that are constitutive of what has been stipulated to be “the bold thesis.” It is contended that examples that have been adduced in the literature as substantiating that bold thesis in fact only support weaker claims. It is argued in favor of accepting some such theses on the topic. A number of variables are then introduced that might be worth keeping in mind as we ponder the philosophical merits or demerits of various cinematic works.
