This volume asks "where is film studies now?". It once enjoyed intellectual prestige by exploiting powerful concepts drawn from psychoanalysis and poststructuralism in the service of textual criticism. In the process cinema was established as an autonomous art and a textual discipline. In modern times however, both the medium and intellectual terrain have changed. Films are more likely to be delivered to their consumers via video and television, as likely to be generated by computer graphics as celluloid. Film production intersects with the music, toy and computer games industries. Media and cultural studies have evolved, spreading a broader net than the old film studies, investigating the intertwining of economy, politics, social structures, cultural practices and identities with media institutions. In this book noted film scholars reflect from the perspective of their own area of expertise on the position of film studies in this changing environment. They examine key issues, assess the impact on the discipline of these developments, challenge recieved thinking, and reinvent film studies for the post-film era.