Abstract
In the opening line of The Real Gaze, Todd McGowan is undoubtedly correct to assert that ‘Film theory today is almost nonexistent’ (p. ix). His book, and Daniel Frampton's maverick manifesto Filmosophy along with it, represent bold attempts to rescue some territory for those film scholars who like to speculate on the far-flung possibilities of cinema – territory that has in recent times been given over to empiricism in one form or another. If the project of Film Theory was pronounced dead a little over a decade ago, then these books offer the challenge of bringing it back to life. It is inspiring to see theories as audacious as those presented by McGowan and Frampton making their way into film studies, for each of the books promises new ways of approaching the study and appreciation of films, and it is refreshing to see two authors staking their claims to...
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