Articulating cinema as an apparatus that “reaches to the genetic element of all possible perception” (83) Deleuze highlights that film at a larger scale can be the source of a new experience for the audience. His treatment of the movement-image fundamentally reorganizes film history according to prominent types of images. In this regard, German Expressionism is linked to elaboration of subjective perception, and the French school – to “spiritual totality”, expressed through the use of “liquid images”. Furthermore, Soviet Montage is focused around movement which “goes beyond itself, but to its material, energetic element” (84) that seems to be also relevant to the American School promoting the idea of “pure perception as it is in things or in matter” (Ibid). Such classification, which is somewhat reminiscent of the Bazanian model in terms of its rejection of linear evolution in the cinematic language due to exclusively technological developments, drastically reshapes the methodological basis of film history as a discipline. Perhaps, the analysis of the cinematic image is a sufficient reason to talk about film as a source of knowledge that blurs the borders between art and academia.