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Filmmakers continue to appeal to the index as an aesthetic category, even as the progression of digital imaging seems poised to completely void the metaphysical assertions of the image to an essence of objectivity or 'the real' as the distinction blurs between properly filmed images and digitally constructed ones. This dissonance is intensified by the development of numerous new media formats that employ the moving image, which has spawned a more general conception of media studies that menaces the ontological claims of indexicality that characterize film's singularity as a medium. Incorporating the cinematic theory of Deleuze into predominant modes of discourse within filmmaking and film studies has the potential to ameliorate these concerns as cinema navigates its post-digital future. By placing the theoretical and artistic emphasis of film on the out-of-field—not on what is immediately sensed, but on the ways in which film guides perception and thought towards greater awareness—the ramifications of digitalization may be better parsed. Deleuze reveals that the threat of digitalization is not that the images it produces bear the aesthetic signifiers of objectivity while lacking a metaphysical or theoretical basis in the index, but that they menace the creative and emancipatory potency of the medium altogether...</p>"},{"label":"Group","value":["Theses & Dissertations"]},{"label":"Digital Origin","value":["born digital"]},{"label":"Discipline","value":["College of Letters"]},{"label":"Date","value":"April 15, 2025"},{"label":"EDTF Date","value":"D:00 M:00 Y:2025"},{"label":"File Format","value":["application/pdf"]},{"label":"Digital Object Identifier (DOI)","value":"https://doi.org/10.14418/wes01.1.3189"},{"label":"Type","value":["Text"]}],"description":"Deleuze post-digitalization: Conceptualizing contemporary cinema and new 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