The critical-theoretical debate has been present in the History of cinema ever since its founding. In its multiple and vast expressions, it offers a comprehensive and stimulating overview of the issues that arise from the images in motion at the very moment they appear. Films, in fact, induce spectators (and scholars) to formulate questions around their own subjectivity-objectivity, they demand positioning and standpoints, they evoke a context, they relate to a series of other debates (critical, theoretical, social), they stir our own (frail) human condition. Against this background, the course intends to reconstruct part of the debate that has developed around certain practices of film that remain crucial in the contemporary modes of vision: the (ontological) status of images, the presence of a support/device, the gesture of the assemblage, the haptic and specular dimension of the gaze. The student will achieve this by means of confronting a number of theoretical essays (classic, modern and contemporary), viewing and discussing a number of significant film sequences, reading and discussing theoretical texts, with the latter two requiring an active students’ participation.