Filmaon Jun 2026

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: While digital platforms offer variety, they can also lead to fragmented viewing habits, where audiences only consume content within their specific cultural or linguistic bubble. Conclusion filmaon

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This paper introduces the concept of (from Latin film + Greek aeon : ‘age’, ‘eternity’, ‘vital force’) to theorize cinema’s unique capacity to manipulate human perception of time beyond narrative duration. While classical film theory focused on montage (Pudovkin, Eisenstein) and phenomenology of the image (Bazin, Deleuze), Filmaon shifts attention to how films produce temporal architectures —structures that stretch, compress, loop, suspend, or abolish chronological time. Drawing on Henri Bergson’s durée , Gilles Deleuze’s time-image, and contemporary neuroscience of temporal perception, this paper argues that Filmaon operates through three primary modes: the Aeonic Stretch (extreme long takes and durational cinema), the Aeonic Collapse (rapid montage and temporal ellipsis), and the Aeonic Loop (recursive structures and eternal return narratives). Analyzing case studies from Satantango (Tarr, 1994), Russian Ark (Sokurov, 2002), Inception (Nolan, 2010), and Last Year at Marienbad (Resnais, 1961), the paper demonstrates that Filmaon transforms spectators into temporal co-creators. The conclusion posits Filmaon as a critical lens for understanding digital cinema’s post-linear temporalities, including algorithmic editing and VR’s persistent presents. Analyzing case studies from Satantango (Tarr, 1994), Russian

Central to its operation was the use of remotely located antennas. Similar to its contemporary, Aereo, FilmOn argued that it was merely providing a technological rental service. The company claimed that each subscriber was assigned a unique, remote antenna, meaning the service was simply facilitating a private performance rather than a public broadcast. This distinction was the crux of their legal defense against copyright infringement claims.

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