Cinema Beyond Film elaborates on the theoretical uses of two key terms—dispositif and episteme—in order to examine their relationship as well as their larger connections to film, technology, and modernity. Although both terms originate in the work of Foucault, dispositif (“device”) intrinsically links itself to the mechanics of movement and speed behind cinematics, while more generally referring to the mechanisms and structures that hold power in place. Episteme (“to know”), on the other hand, refers to the conditions and possibilities of knowledge and reception, more than to technological innovation. Each term is explored here in relation to the other, allowing this edited collection to assess the wide array of potential materialities that arise from the mechanics behind cinema and the changing face of its technology.

超越电影的电影》阐述了两个关键术语的理论用途--dispositif和epistem--以研究它们之间的关系，以及它们与电影、技术和现代性的更大联系。虽然这两个术语都源于福柯的作品，但dispositif（"设备"）本质上与电影背后的运动和速度的机械性相联系，同时更普遍地指的是保持权力的机制和结构。另一方面，Episteme（"知道"）指的是知识和接受的条件和可能性，而不是技术革新。在这里，每个术语都是相对于另一个术语进行探讨的，这本编辑过的文集允许评估从电影背后的机制和技术的变化中产生的广泛的潜在物质性。