Develops a fundamentally new Deleuzian framework for conceiving of film as philosophy

Develops a theory of cinecepts, a fundamentally new framework for how philosophy can proceed in and through film/video/audiovisual media: a recognition of such media as (underexploited) tools for the direct formulation of philosophical concepts
Provides substantially new readings of the work of Gilles Deleuze as regarding the film/philosophy relation, concepts, cinema, and how novelty can be produced and blocked
Subjects Jean-Luc Godard & Anne-Marie Mi ville's under-researched 1970s Sonimage works to extensive examination, along with readings of two late 1960s Godard films and considerations of form in Histoire(s) du cin ma
Critically examines debates and discourses on the scholarly video essay from new perspectives
Draws together Film-Philosophy, Philosophy, Deleuze studies, Godard Studies, Film Theory, Art Theory, Media Theory, Critical Theory, and Videographic Film Studies

As the spread of knowledge and even theory becomes an increasingly audiovisual affair, how can philosophy adapt in ways that develop rather than dilute philosophical rigor and specificity? How can philosophy harness the potential of audiovisual media being more formally multidimensional than text-only to conceptualize with greater precision and depth?

This book presents a theory of formal development of philosophy in this regard: a theory of cinecepts. While spanning film, media, art, and critical theories as well as philosophy, this study proceeds mainly through a close reimagination of the work of Gilles Deleuze, which allows for a merging of what he kept separated: filmic thinking and philosophical conceptualization. Jean-Luc Godard & Anne-Marie Mi ville's underexplored 1970s Sonimage works are also the subject of extensive examination, along with critical considerations of a contemporary era of academic video essays and phenomena like philosophy channels on YouTube.