Robert Sinnerbrink is Lecturer in Philosophy at Macquarie University, Australia. He is the author of Understanding Hegelianism (Acumen, 2007), and co-editor of Critique Today (Brill, 2006), and published articles on Malick, Lynch, and von Trier in journals including Film-Philosophy, Projections: The Journal of Movies and Mind, and Senses of Cinema.

• Introduction: Why Philosophy of Film Now?; Part I: The Analytic-Cognitivist Turn; 1. The Empire Strikes Back: From "Grand Theory" to the New Film Ontology; 2. The Bad and the Beautiful: Narrative, Character Engagement, and Genre; 3. Artificial Intelligence: Cognitivism Goes to the Movies; Part II: The 'Continental'-Romantic Paradigm; 4. From Ontology to Appreciation: Cavellian Romanticism; 5. Time, Affect, and the Brain: Deleuzian Cinematic Thinking; 6. Who's Afraid of Ideology Critique? The New Political Film Aesthetics; Part III: Cinematic Thinking; 7. From Badlands to New Worlds: Terrence Malick's Cinematic Poetry; 8. Cinematic Ideas: David Lynch as Film-Philosopher; 9. Beyond Dogme: Lars von Trier's Romantic Irony; Conclusion: From Philosophy of Film to Film-Philosophy; Filmography; Bibliography; Index.

Both an excellent introduction and an original contribution to the field, New Philosophies of Film: Thinking Images covers a large range of theoretical positions with impressive adroitness. By offering incisive philosophical analyses alongside brilliant film readings, Sinnerbrink achieves that rare thing, a true marriage of the abstract and the concrete that will be of huge value to scholars and students alike. Professor John Mullarkey, Kingston University, London, UK

Robert Sinnerbrink is Lecturer in Philosophy at Macquarie University, Australia. He is the author of Understanding Hegelianism (Acumen, 2007), and co-editor of Critique Today (Brill, 2006), and published articles on Malick, Lynch, and von Trier in journals including Film-Philosophy, Projections: The Journal of Movies and Mind, and Senses of Cinema.

• Introduction: Why Philosophy of Film Now?; Part I: The Analytic-Cognitivist Turn; 1. The Empire Strikes Back: From "Grand Theory" to the New Film Ontology; 2. The Bad and the Beautiful: Narrative, Character Engagement, and Genre; 3. Artificial Intelligence: Cognitivism Goes to the Movies; Part II: The 'Continental'-Romantic Paradigm; 4. From Ontology to Appreciation: Cavellian Romanticism; 5. Time, Affect, and the Brain: Deleuzian Cinematic Thinking; 6. Who's Afraid of Ideology Critique? The New Political Film Aesthetics; Part III: Cinematic Thinking; 7. From Badlands to New Worlds: Terrence Malick's Cinematic Poetry; 8. Cinematic Ideas: David Lynch as Film-Philosopher; 9. Beyond Dogme: Lars von Trier's Romantic Irony; Conclusion: From Philosophy of Film to Film-Philosophy; Filmography; Bibliography; Index.

Both an excellent introduction and an original contribution to the field, New Philosophies of Film: Thinking Images covers a large range of theoretical positions with impressive adroitness. By offering incisive philosophical analyses alongside brilliant film readings, Sinnerbrink achieves that rare thing, a true marriage of the abstract and the concrete that will be of huge value to scholars and students alike. Professor John Mullarkey, Kingston University, London, UK

Robert Sinnerbrink is Lecturer in Philosophy at Macquarie University, Australia. He is the author of Understanding Hegelianism (Acumen, 2007), and co-editor of Critique Today (Brill, 2006), and published articles on Malick, Lynch, and von Trier in journals including Film-Philosophy, Projections: The Journal of Movies and Mind, and Senses of Cinema.

• Introduction: Why Philosophy of Film Now?; Part I: The Analytic-Cognitivist Turn; 1. The Empire Strikes Back: From "Grand Theory" to the New Film Ontology; 2. The Bad and the Beautiful: Narrative, Character Engagement, and Genre; 3. Artificial Intelligence: Cognitivism Goes to the Movies; Part II: The 'Continental'-Romantic Paradigm; 4. From Ontology to Appreciation: Cavellian Romanticism; 5. Time, Affect, and the Brain: Deleuzian Cinematic Thinking; 6. Who's Afraid of Ideology Critique? The New Political Film Aesthetics; Part III: Cinematic Thinking; 7. From Badlands to New Worlds: Terrence Malick's Cinematic Poetry; 8. Cinematic Ideas: David Lynch as Film-Philosopher; 9. Beyond Dogme: Lars von Trier's Romantic Irony; Conclusion: From Philosophy of Film to Film-Philosophy; Filmography; Bibliography; Index.

Both an excellent introduction and an original contribution to the field, New Philosophies of Film: Thinking Images covers a large range of theoretical positions with impressive adroitness. By offering incisive philosophical analyses alongside brilliant film readings, Sinnerbrink achieves that rare thing, a true marriage of the abstract and the concrete that will be of huge value to scholars and students alike. Professor John Mullarkey, Kingston University, London, UK