The use of a complex methodology in cinema studies is constantly being discussed. There are researches on sociology, psychology, aesthetics and semiotics of cinema. The movement towards an integrated methodology makes the idea of a philosophy of cinema relevant. The synthesis of different academic approaches in cinema studies can be only understood in terms of philosophy. Each discipline sees and is able to explain through cinema merely what is connected with its agenda. An appropriate methodology needs to be developed so that these different aspects of cinema are transformed into the elements of a uniform system. The article analyzes the philosophical approach to cinema studies of Gilles Deleuze, who made cinema instrumental in examining time. Deleuze’s work in question explores Henri Bergson's argumentation of dramatic changes in the perception of time. It would seem that it was cinema, with its ability to capture the dynamism of social life, that should have demonstrated the meaning of such changes. Bergson understood, quite traditionally, the ability of cinema to recreate time in the forms of space. Deleuze shares the conventional point of view on the fate of philosophy, which argues that previous philosophy disappears and, dissolving in art, exists only in artistic manifestations. The authors conclude that:1. The intrusion of philosophy into cinema dictates the need to develop a theory as a mediator between film philosophy and filmmaking.2. When studying cinema through other liberal sciences, it is necessary to avoid discussing specific aspects and strive for a systematic consideration. 3. The study of cinema from the point of view of various schools of thought, does not exclude finding points of contact between them.4. The need for an integrated methodology in studying cinema involving philosophical angles is also dictated by the rapid development of technology. It is necessary to take into account what has already been accomplished in the philosophy of technology.