U radu autor uspostavlja i brani tezu o postavljanju filma strave osamdesetih godina prošloga stoljeća kao paradigme djelovanja spektakla kao sustava udaljavanja pojedinca od života njegovim bitnim vezanjem za slikovne fenomene. Time se u svezu dovode tri do sada odvojena elementa koje autor smatra presudnim za razumijevanje medija te ukupne medijske teorije dvadesetog i prvih desetljeća dvadeset i prvog stoljeća, a to su Heideggerova ideja o dobu slike svijeta, Debordov pojam spektakla i Deleuze-Bellerova filozofija filma i napose konceptualno određena filmska filozofija kao sažimanje mogućnosti odgovora na suvremeno stanje društva u kojemu se filmski spektakl odražava u bitno kinematiziranoj kulturi, odnosno društvu pokrenutom kroz isključiv odnos slikovnih reprezentacija.; In this paper, the author establishes and defends the thesis that the 1980s horror film production acts as a paradigm of the spectacle, especially in terms of the system of reduction of immediate life to image related mediations and phenomena. Thus, three disparate elements are now connected in a conceptual framework by which author supposes one must judge the media theory and media at large at the end of the twentieth and the beginning of the twenty-first century. The three elements are the Heideggerian notion of the age of the world-picture, the Debordian notion of the spectacle, and the Deleuzian experiment of the philosophy of film that, through Beller, establishes itself as a film philosophy, to be a possible answer to the contemporary state of a society in which the film spectacle reflects itself in the essentially cinematic culture, that is, in society put in motion exclusively only through the relation of image representations.