ABSTRACT
Avant-garde films, along with modern and contemporary art, music, and theater, have long posed serious challenges to philosophy. Theorists of film have, for their part, turned to various schools of philosophy to theorize the functioning of these films that strive to reinvent sound and image composition, transforming film form and structure. In this essay, I will be describing primarily English-language considerations of the philosophical aspects of avant-garde film, though foundational and parallel work has been done in Germany, France, and other European countries.
