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Film scholar Lucy Fischer opens this book with a preface called "Magritte and Me" in which she tells of her longstanding love of René Magritte's art and the significance this art has had on her life and on her teaching film studies. She then elaborates this concept of resonance arguing that Magritte's art is "realistic" but that it raises conceptual issues that are of importance to film and cinema, arguing that he is as much a philosopher as he is a surrealist artist. Part one; "Backstory", consisting of four chapters, examines films that have been made about Magritte, films Magritte made himself (home movies), film tributes to Magritte and surrealist films directly influenced by Magritte's work. [Extracted from the article]

Beginning with a promise of realizing a spatial critique in film studies, this book contributes to the spatial turn in film studies.It discusses a variety of issues using space as an entry point: cinematic space, place images, institutional and pre-production contexts and their afterlives. The book broadly uses colonial films, Hindi cinema and Bengali films in constituting India as a filmed space; a clarification to this end would have been useful. [Extracted from the article]

One may question such a selection process, as the anthology does seem to focus on a select group of philosophers at the expense of many focused practitioners of the very film theory that the edition hopes to elucidate. I Philosophers on Film from Bergson to Badiou i is a recent collection of essays from leading Continental Philosophers of the past century. [Extracted from the article]