ABSTRACT
At a time when many proclaim the “end of cinema” in the wake of digital media1 the surge of recent books on film or cinema philosophy may seem surprising.2 Film-philosophers ask ontological and epistemological questions about a medium with an uncertain future: What is cinema, and what are we in relationship to it? How are both changing in a mutually constitutive dynamic? What is the reality that has been not only represented, but thoroughly transformed, by the moving image?
