Esthétique de l'espionnage (2007), he draws on Foucault's analysis of the Panopticon and Deleuze's Postscript on the Societies of Control in order to show how the act of listening always entails issues of power and dominion.
Sur écoute proposes an archeology of overhearing, following many paths, from the Bible to spy movies like Hitchcock's Torn Curtain or Coppola's The Conversation.
La philosophie dans le juk-box, 2008) analyzes haunting melodies as powerful articulations or jointings between the psyche and the global market.
The specifically cosmopolitical dimension of mankind in Kant, Szendy argues, does not reside in the traditional, "vertical" definitions that locate man between the beast and the divine, but in the "horizontal" comparison that projects him in outer space.
2012 et autres fins du monde (2012), Szendy develops his reflections on the concept of world into a theory of film as a "cineworld" ("cinémonde") always exposed to its radical finitude.