In the following text, the problem with the relationship between the cinematic’s art and
philosophy is presented. The analysis of several notions through which the innovation in
thinking and writing about cinema is carried out, such as “image movement” that allows
the recognition of the essence of the cinema as the relationship of various forces and
escalations of its creative power. The breakthrough that took place in the cinema after
the Second World War is described. The above is associated with the transition from the
notion of “image movement” to the concept of “image-time”. In correlation with the
concept of time (le temps est hors de ses gonds), the question of montage is discussed.
Then the concepts of “pure optical situation” and “pedagogy of perception”, as well the
emergence of a new type of image called “image-crystal”, are introduced. In this context,
the change in our way of understanding and feeling the world is presented, and an attempt
is made to evaluate the condition of the modern society.