Abstract

What is 'analyzing a movie'? And, what is 'its role in film studies'? The question required a systematic and scholarly answer, and filmologie was making a clear place for itself. Through psychology, aesthetics, text theories and of course semiotics, the conceptualization of 'film' has been formed. Deleuze, who has been continually writing about 'movies' in his philosophical essays, ended the debate in defining the relationship between 'image and essence' when he released 《Movie 1, Movement-Image》 in 1983. 'Film' rapidly became the topic of the century and became a 'device' that leads the way of thinking. The reason why Jean-Louis Boissier labeled this 'film' as 'device (le dispositif)' was not part of film studies. What should be noted is that the mention of 'film' became a key part of the debate of 'reproduction', which was the most popular subject of philosophy and humanities. In the digital era, the film is once again questioned about its definition. In retrospect, themes of core debates of 'History of cinema' have always been driven by simple and superficial technological changes. With the emergence of CG (Computer Graphics), the question of 'cinema' in the 21st century is not only a philosophical discussion on the problem of 'reproduction', but also a crucial change that shifted the focus of the debate on the nature of the film from 'production' to 'distribution'.