The article considers three main points of Daniel Frampton’s Filmosophy: the establishment of filmosophy and its basic concepts, its connection to contemporary film and the filmgoer and filmosophy as a different mode of thinking emerging after the end of philosophy. First, we follow Frampton’s definition of film as thinking and the filmosophical concepts this gives rise to. Next, we attempt to show that, contrary to Frampton’s position on filmosophy’s explanatory value for the questions posed by contemporary cinema and its usefulness for the filmgoer’s experience of film, filmosophy proves to be completely redundant. At the end, we consider Frampton’s conception of filmosophy as a new route for philosophy and question its soundness.

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