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Intro -- Half Title -- Series Page -- Title Page -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Editorial Acknowledgments -- Introduction -- Part I: Classic Philosophers on Film -- Chapter 1: The Thought of Movies -- Chapter 2: On Cinema -- Part II: Thinking on Films -- Chapter 3: Film as Philosophy and Cinematic Thinking -- Chapter 4: Philosophical Therapy at the Movies -- Chapter 5: Missing Mothers/Desiring Daughters: Framing the Sight of Women -- Chapter 6: Why Is Leap Year Not a Comedy of Remarriage? -- Chapter 7: Film and Television as Forms of Shared Experience -- Chapter 8: What Does It Mean to Have a Cinematic Idea?: Deleuze and Kurosawa's Stray Dog -- Chapter 9: "The Active Eye" (Revisited): Toward a Phenomenology of Cinematic Movement -- Chapter 10: Rethinking Monster Movies: Men in Black, Alien Resurrection, and Apocalypse Now -- Chapter 11: A Plural Transcendence: When Film Does Phenomenology -- Chapter 12: I Wake Up Screaming: Kansas and Beyond -- Chapter 13: Mediating Fairy Stories in Words and Images: Warring Magics in J. R. R. Tolkien and Peter Jackson's Lord of the Rings -- Part III: Thinking with Films -- Chapter 14: On Wim Wenders's Paris, Texas -- Chapter 15: On Larissa Shepitko's The Ascent -- Chapter 16: On Jim Jarmusch's Paterson -- Chapter 17: On Sidney Lumet's Serpico -- Chapter 18: On Antwone Fisher's Antwone Fisher -- Chapter 19: On Hirokazu Kore-eda's Our Little Sister -- Chapter 20: On Lars von Trier's The House That Jack Built -- Chapter 21: On Robert Bresson's Diary of a Country Priest -- Chapter 22: On Luchino Visconti's Death in Venice -- Chapter 23: On Andrei Tarkovsky's Andrei Rublev -- Chapter 24: On Krysztof Kies´lowski's Le Double Vie de Véronique -- Chapter 25: On Quentin Tarantino's The Hateful Eight -- Chapter 26: On Wes Anderson's The Royal Tenenbaums.