Acknowledgements; 1. Introduction: The Problem of Cinema; 1.1 Transcendental Empiricism and the ‘Cahiers Axiom’; 1.2 The Monotony of Difference; 2. The Interval as Disaster; 2.1 Terminus, or, Waiting for a Train; 2.2 (Film) History as Montage; 2.3 Cinema as an Anterior History of Violence; 3. Movement, Duration and Difference; 3.1 The Three Theses on Movement; 3.2 The Temporalisation of Difference; 3.3 How to Escape the Dialectic; 4. What Use is Cinema to Deleuze?; 4.1 The Necessary Illusions of Practical Life; 4.2 A Materialist Practice of Metaphysics; 4.3 Transcendental Empiricism as Cinematic Philosophy; 5. Genesis and Deduction; 5.1 Cinematic Being; 5.2 Weak Reasoning, Perversity and Grasping at Threads; 5.3 From ‘Primitive’ Cinema to Real Movement; 6. The Thought of the World; 6.1 Cinematic Aberration and the ‘Great Kantian Reversal’; 6.2 The Classical Cinema as Totalisation; 6.3 Cinema as ‘Art of the Masses’; 7. The Night, the Rain; 7.1 Film, Death (the ‘Reverse Proof’); 7.2 The Suspension of the World; 7.3 ‘The Image, the Remains’; 8. Conclusion: The Crystal-Image of Philosophy; List of Works Cited.