<p>The French writer and philosopher Maurice Blanchot (1907-2003) was a notoriously reclusive figure who wrote that his life was entirely devoted to literature. Why then have filmmakers and writers on film found so much inspiration in Blanchot&rsquo;s work? <em>Blanchot and the Moving Image</em> explores a constellation of connections between Blanchot, film and film theory and draws lines of intellectual influence to show how Blanchot&rsquo;s thinking of literature find its way by a kind of displacement into contemporary philosophical approaches to cinema. Three case studies examining individual films &ndash; by Jean-Luc Godard, B&eacute;la Tarr and Gaspar No&eacute; &ndash; draw out how Blanchot&rsquo;s complex notions of fascination and image can contribute to theories of spectatorship. The first book-length treatment of this theme, <em>Blanchot and the Moving Image</em> thus demonstrates the overlooked importance of Blanchot&rsquo;s work for understanding contemporary film and film theory.</p><p>Calum Watt gained his PhD at King&rsquo;s College London and is a Marie Curie Fellow at Universit&eacute; Sorbonne Nouvelle, Paris 3.</p>