Film as Aesthetics is heavily influenced by phenomenology, which emphasizes the subjective experience of the viewer and the role of consciousness in shaping our understanding of the film.

Film as Aesthetics prioritizes the aesthetic qualities of the film, such as its visual composition, editing, and sound design, as the primary means of conveying meaning and creating an immersive experience for the viewer.

Stanley Cavell is a prominent film theorist who has extensively explored the philosophical dimensions of cinema, including the concept of Film as Aesthetics.

Film as Aesthetics emphasizes the viewer's active role in interpreting and making meaning from the film, rather than passively receiving the filmmaker's intended message.

The French New Wave, with its focus on subjective filmmaking, experimentation, and the exploration of cinematic form, is often seen as an embodiment of the Film as Aesthetics perspective.

Film as Aesthetics challenges traditional notions of representation by rejecting the idea of an objective reality that can be faithfully captured on film, emphasizing the filmmaker's personal vision and the viewer's subjective experience as essential elements of the cinematic experience.

Film as Aesthetics places less emphasis on traditional narrative structure, instead focusing on the exploration of cinematic form and style, the viewer's subjective experience, and the filmmaker's personal vision.

Film as Aesthetics acknowledges the importance of the director's personal style and vision, but also recognizes the collaborative nature of filmmaking, emphasizing the contributions of other artists and technicians.

Jean-Luc Godard is frequently mentioned as a prominent filmmaker who embodies the Film as Aesthetics approach, with his experimental and innovative style, focus on cinematic form, and exploration of philosophical themes.

Film as Aesthetics challenges the idea of a single, objective reality, affirms the existence of multiple, subjective realities, and suggests that reality is constructed through our perceptions and experiences, thus contributing to our understanding of the nature of reality.

Film as Aesthetics typically focuses on the exploration of philosophical and aesthetic themes, rather than prioritizing special effects and visual spectacle, which are often associated with more commercial or mainstream filmmaking.

Film as Aesthetics both critiques the negative impact of technology on the cinematic experience and explores the complex relationship between technology and the human condition, examining how technology shapes our perceptions and experiences of reality.

Film as Aesthetics does not aim to establish a set of universal criteria for evaluating films, as it recognizes the subjective and contextual nature of film appreciation.

Film as Aesthetics draws inspiration from and engages with other disciplines, such as art history and philosophy, to enrich its understanding of cinema and its relationship to broader cultural and intellectual contexts.

The ultimate goal of Film as Aesthetics is to deepen our understanding and appreciation of cinema as an art form, by exploring its aesthetic qualities, philosophical underpinnings, and the complex relationship between the film, the filmmaker, and the viewer.