This is the final part of a critical trilogy that explores cinema in the latter half of the twentieth century. It fuses analysis of objective form in Cinema and Modernity with a subsequent critique of subjective form in Contemporary Cinema, and reassesses the close ties of the aesthetic and the political up to the present time. The book examines the cinematic city in Kieslowski and Cronenberg, the cinema of wonder in Tarkovsky and Angelopoulos, the hypermodern world of science fiction and horror, the time-image in Resnais, Rivette, Lynch, and Stone, and the art of identity in Jarman and Jordan. At the turn of the century, film is seen as a component of a hypermodern culture, which has displaced the modernist aesthetic of the 1960s and now plays a key role in our mapping of the information age.