What does Daniel Frampton’s filmosophy, the notion of film as thinking and thinking as film, mean for film theory? Is it possible to think cinema in the way proposed by Frampton and what does this mean for current film practice? This is the question I deal with in this lecture. My starting point is Frampton’s ambition to conceive a film theory which would respond to the new possibilities of cinema and could face all that is yet to come in film practice. I begin analysing the idea of film as thinking from the opposite side, with Frampton’s presentation of the conceptions of thinking as film in philosophy. This brings us to semiology and the texts by semiologist Francesco Casseti. Casseti, like Frampton, argues for an autonomous film theory and demonstrates the possibilities of such a theory through analysing film practices in the 20th century, when cinema was, as he says, “the eye of the century”. We compare his exploration of early film practices in the Western world with an exploration of currently the third strongest film production in the world, the Nigerian video film production. This comparison shows that the early years of Western cinema and the beginnings of Nigerian video share many common features, which can be effectively described precisely by Filmosophy.

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