"In The Flesh of Images, Mauro Carbone analyzed Merleau-Ponty's interest in film as it relates to his aesthetic theory. Philosophy-Screens broadens the work undertaken in this earlier book, looking at the ideas of other twentieth-century thinkers concerning the relationship between philosophy and film, and also extending that analysis to address the wider proliferation of screens in the twenty-first century. In the first part of the book, Carbone examines the ways that Sartre, Merleau-Ponty, Lyotard, and Deleuze grappled with the philosophical significance of cinema as a novel aesthetic medium unfolding in the twentieth century. He then considers the significance of this philosophical framework for understanding the digital revolution, in particular the extent to we are increasingly and comprehensively connected with screens. Smart phones, tablets, and computers have become a primary referential optical apparatus for everyday life in ways that influence the experience not only of seeing but also of thinking and desiring. Carbone's Philosophy-Screens follows Deleuze's call for "a philosophy-cinema" that can account for these fundamental changes in perception and aesthetic production, and adapts it to twenty-first century concerns"--.

• Contents
• List of Illustrations
• Preface: In The Light of Our Screens
• Acknowledgments
• Part One: What Is a “Philosophy-Cinema?”
  • Chapter One Sartre and Deleuze via Bergson
    • Sartre Anticipates Deleuze: The Cinema, a “Bergsonian Art”
    • Sartre Quits Bergsonianism and Film Theory
  • Chapter Two The Philosopher and the Moviemaker: Merleau-Ponty and the Meaning of Cinema
    • Making Seen instead of Explaining: The Historical Convergence of Cinema and Philosophy according to Merleau-Ponty
    • “The Question of Movement in Cinema”
    • Ontology of the Image as Figure of Mutual Precession
    • All This Being Said: Sartre, Merleau-Ponty, Deleuze, and the “Philosophy-Cinema”
  • Chapter Three The Torn Curtain: Lyotard, the Screen, and a Cinema Named Desire
    • For an Ontological Rehabilitation of the Screen
    • The Bias of Desire
    • Specular Wall, Plastic Screen, Cinematic Screen
    • The A-Art, the Acinema, and the Mutation of Desire
    • The Screen to Make Seen, the Screen to Be Made Seen: A Comparison Between Merleau-Ponty and Lyotard
    • Yet, What “Mutation of Desire”?
• Part Two: The Animated Life of Screens
  • Chapter Four Delimiting to Exceed: The Theme of the “Arche-Screen” Founding Itself with Its Variants
    • The Screen, the Canvas, the Window
    • Apparatuses and Historicities
    • Plato’s Arche-Screen
    • The Invention of the Window and the Invention of the Subject
    • The Screen Rather Than the Window
  • Chapter Five Come Live with Me: The Seduction of the Screens Today
    • The Arche-Screen as a “Quasi-Subject”
    • The Ambiguity of Seduction
    • The Ambiguity of Desire
  • Chapter Six Making Philosophy among and through the Screens
    • The New Prostheses
    • The Screens and 9/11
    • Subjectification, Individuation, Dividuation
• Notes
• Index