Abstract: The film philosophy from the second half of the 20th century to the present has undergone three important transformations: psychoanalysis, Deleuze’s vitalism and posthumanism. But in this leading clue, the position of subjectivity is always an unsolved doubt and difficulty. In Deleuze’s theory of affect, the subject is the surface effect generated by the flow of images. When it comes to posthumanism and accelerationism, subjectivity even becomes an outdated position. Therefore, we try to reintroduce phenomenology, which is often neglected. In Sobchack’s case, the mutual belonging and analogy between the human body and the film’s body is the main idea, but it still implies the possibility of rupture. When it comes to Laura Marks, the haptic surface further extends the position of “dying image”, which maintains subjectivity on the edge of rupture. These speculations, which have been gradually forgotten, just enlighten us on how to face the disconnection thesis of posthumanism and reconstruct the real position of subjectivity.

Key words: film philosophy, Influencing machine, film’s body, haptic cinema, dying images