 Until recently, there have been few adherents to the idea that films can make a philosophical contribution. (But see Kupfer (1999) and Freeland (2000) for counterinstances.) In part, this is because Cavell's linking of film to skepticism seems inadequately grounded, while his account of skepticism as a live option for contemporary philosophy is based on a highly idiosyncratic reading of the history of modern philosophy. Nonetheless, Cavell's interpretations of individual films' encounter with skepticism are highly suggestive and have influenced many philosophers and film scholars with the seriousness with which they take film. (For one example, see Mulhall (2001).)