Images in films can be photographically produced or digitally composed. They can register the real or be saturated with internal contradictions and paradoxes. Image sequences can track continuing actions or jump abruptly across times and places. They can capture the past visually and present the visually unreal or impossible. Daniele Dottorini develops a systematic account of the kinds of shocks, surprises, and meanings that are uniquely presentable on film. His work will be indispensable for thinking about the full range of film's powers.

Richard Eldridge, Charles and Harriett Cox McDowell Professor Emeritus of Philosophy, Swarthmore College, USA

Daniele Dottorini's book puts film theory into motion in a rare way. His rigorous conceptual work takes us into a series of heterogeneous temporalities that embrace the sensitive material of filmic forms. Anachronism is no longer an object of study here; it becomes an opportunity for the reader to experience time in a way that only cinema can make possible. Thus, we embark on a journey of images unlike any other.

Dork Zabunyan, Professor of Cinema, Université Paris 8, France