It is a key premise of this essay that not only is the spectre a privileged subject
of film but that it
would be ur figure of cinema, if cinema could have an ur figure, if the spectre could
be an ur figure, a figure
not only operating at every second at every level in every aspect of every film but
at the level of the cinematic,
or rather animatic, apparatus of film, hence at the level of film cas such'—of
film as a form of animation.
So that all that I say in this essay of cinema, of film, is to be taken as said of
what I call film animation—
where animation is not only a form of film, all film is a form of it.