[1][2] The earliest person to explore philosophical questions regarding film was Hugo Münsterberg.
He held that by adding technologically synchronized sound to replace previous live-accompaniment of otherwise silent moving images, the unique status of film had been removed.
André Bazin, contrary to Arnheim, held that whether or not a film has sound is largely irrelevant.
Aspects of Bazin's realist theories have been accepted by philosophers in spite of Carroll's critique.
[3] In it, the character waxes philosophic that every moment of film is capturing an aspect of God.