How does the cinema world? This question haunts Kuipers' A Cinematic Mode of Existence. What techniques of existence are generated here, at the interstices where the images catch perspectives in the making? And how do these perspectives, emergent forces of life-living, push up against the urgency of a more-than-human angling, a life lived artfully in difference without separability?

Erin Manning, Professor, Concordia University, Canada

A Cinematic Mode of Existence performs an "ontological turn" – or more precisely, an ontogenetic turn. The question is how the cinematic image is engendered and what it, in turn, engenders. The answers are to be found in movement and perspective. Movement in the world, not in the interiority of a subject; a perspective of the world, not a point of view on it. Weaving expertly between detailed analyses of films and conceptually innovative philosophical analysis, Kuipers produces a theory of the image invoking an "extra-modern" cosmology. The book challenges film studies to open itself to fundamentally new understandings of what cinema can do.

Brian Massumi, Professor (retired), University of Montreal, Canada