It is only at the very end of his two-volume study of the cinema, in a kind of prospective addendum, that the late French philosopher Gilles Deleuze raises the problematic of the digital image. In presenting the digital image as a challenge to cinema—a challenge that can either render it obsolete or occasion its wholesale functional metamorphosis—Deleuze reasserts, one final time, the privilege of aesthetics over technology that literally pervades the cinema study. And despite his own recognition that a full treatment of the digital image is beyond the purposes of his study, his very willingness to enumerate its principal "effects" suggests a hope that cinema can in fact be reborn through the digital. These "effects" themselves have the effect of specifying the digital image in relation to the time-image, and thus indicate a path for rethinking cinema after the digital. For this reason alone, Deleuze's analysis of the digital image deserves to be quoted at length:
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Mark B. N. Hansen (2002) studied this question.