Abstract

The present contribution develops some key issues of the work of Luigi Stefanini, starting from his work on cinema dating back to 1954. The relationships between philosophical esthetics and film criticism have not been particularly fruitful in Italy (or elsewhere). However it can be surmised, following Formaggio 1961, that “cinema is a testbed for contemporary esthetics, insofar as the latter tries to provide a universal theorization of art”.