The choices afforded by the praxes of thinking and creating have occupied philosophers for centuries, and cinema provides a new dimension to this practice: adding another perspective; articulating another configuration of “reality”; engaging a questioning of systems of science, judgement, knowledge and life. The instance, the vector or moment of conceptual choice (the technological and event epistemology) works on and off screen, creating new models that become the subject of study under film-philosophy.

Practices of film-philosophy have revived an interest in the technical epistemology of classical philosophers in a way that no other popular, commercially driven medium has been able to. For example, in the hands of film-philosophers, the ontological conditions of Plato's cave are redistributed into Hollywood, Aristotle's poetics take a spin around introductory classes on film form and style, and Descartes' “deception hypothesis” is supplanted with fictional filmic worlds.

In Part III, contemporary thinkers engage the technological and event epistemology of the theoretical and philosophical work done in the twentieth century in order to explore the cinematic (refer to the Introduction for further discussion of these terms). Film-philosophy is a hybrid discipline, and the many different methods of practising it covered in Part III can be characterized by their discrete use of technical and theoretical approaches to their subject, drawing as they do on various traditions and practices of thinking.