  But once the philosophy of film is granted autonomy as a separate sub-field of aesthetics, the question arises as to its form. That is, philosophers are concerned with the issue of how the philosophy of film should be constituted as a field of study. What role is there for film interpretation in the field?  How do studies of particular films relate to more theoretical studies of the medium as such?  And what about philosophy in film, a popular mode of philosophic thinking about film?  Is there a unified model that can be employed to characterize this newly vitalized domain of philosophic inquiry?