The article is an initial summary of my dissertation thesis. Using references and particular film sequences I analyse the subject of film stasis and disposition of its effect, induced by immobility of the camera during the process of taking film shots.
Stasis presents a fracture, an intersection within the structured cinematic time; it indicates a possibility of coexistence of the physical and spiritual in the process of visualization. Stasis in my work is considered a means of ontological stance within the context of thinking cinema.