Filming—philosophy's new thesis? A radical trembling? Postmodern task of thinking? Let us suppose, provisionally, that filming is the beginning of the Abbruch from philosophy. From this point of view, what does filming signify? Perhaps, we should first ask, rather briefly, what filming does not signify. Filming, as it is named here, is not disclosed in Leonardo da Vinci's notion of camera obscura, not in Thomas Edison's invention of the first workable motion picture camera. Indeed, it may not be ascribed to anything that began to flourish when an archaeology of cinema revealed detailed studies of filmmaking. A definite historical and cultural theory concerning the very possibility of filming would certainly include these and many other cinematographic considerations. But our concern will be to expose filming within a zone of thinking that leads to a nonlogocentric, yet critically imagistic reading of the postmodern interplay between Denken and Einbildungskraft.