Philosophy, and in particular continental philosophy, has provided a conceptual underpinning for cinema since its beginnings, especially in the development of cinematic aesthetics. In its turn, film has rethought the abstractions of space and time and the categories of sex and gender and has created new concepts which illuminate phenomenology, metaphysics and epistemology. Film, Theory and Philosophy brings together leading scholars to provide a detailed overview of the key thinkers who have shaped the field of film philosophy. The thinkers include continental philosophers, post-continental philosophers, analytic philosophers, film-makers, film reviewers, sociologists, and cultural theorists. The essays reveal how philosophy can be applied to film analysis and how film can be used to illustrate philosophical problems. But more importantly, the essays explore how film has shaped what philosophy thinks and how philosophy has lead to a reappraisal of film. The book will prove an invaluable reference and guide to readers interested in a deeper understanding of the issues and insights presented by film philosophy.

"In terms of theoretical scope, the book could hardly be more comprehensive: in terms of ambition, it could hardly be more colossal. Colman has ably managed to strike a balance between concision and rigour. For the most part, the contributions come across as taut and easily digestible, and function as all good introductions to theoretical figures should: giving the reader a broad sense of the thinker's context and their contribution to the field, and encouraging us to delve more deeply into the original writings.'"

Source: Senses of Cinema

"A timely and necessary anthology for both research and teaching purposes, shaping and consolidating the parameters of this field in an inclusive and comprehensive manner.'"

Source: Film Criticism

"With contributions from highly respected scholars in the field, this work will be an indispensable point of reference for all those who want to understand the complex relation between philosophical reflection and film as it developed from the early decades of the twentieth century onwards.'"

Ian James