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Susan Sontag's writings of the 1960s on film seem prescient in light of current trends in academic film study, where questions of aesthetics and style, after several decades of neglect, appear to be attracting new interest. (1) The interest takes form in contexts scarcely imaginable during the 1960s, the decade during which Sontag wrote and published the string of pathbreaking articles collected in Against Interpretation (1966). (2) All the same, chief themes in Sontag's film criticism--the emphasis on film's resistance to interpretive criticism, the elevation of concrete form over extrapolated meaning, the alternatives posited to the notion of film as representation, the invocation of an "erotics" of art--all appear consonant with current interest in aesthetics in academic film circles, similarly concerned with the sensory or embodied dimension of the film experience. In light of what is beginning to look like a new openness in film studies to aesthetic inquiry, Sontag's stress in Against Interpretation on film's material singularity--however atypical of much academic film study over the past thirty years--now seems uncannily to anticipate current research. Given the overlap between Sontag's film criticism and current film-academic interest in a range of quasi-aesthetic and embodiment-related topics, what might be learned today from Sontag's film criticism of the 1960s, likewise concerned with film's sensory and somatic aspects?