作为备受学界瞩目的欧陆哲学家，巴迪欧在其标志性的事件哲学之外，亦撰写了大量的艺术评论和美学理论文章。巴迪欧的美学思想集中于《非美学手册》（PetitManueld’inesthétique）。在其中，他将自己对于艺术和哲学关系的构想命名为“非美学”，意为在自己的理论体系之中，艺术与哲学的关系颠覆了传统的美学观点，因此是反美学的，故为美学一词前加否定词缀为inaesthetics。

除了哲学学者以外，巴迪欧还拥有一个身份——影迷。在1957年，仍在求学的巴迪欧就开始在一本天主教杂志《新酒》上撰写电影评论，且极推崇戈达尔：他甚至曾在戈达尔的《电影社会主义》中出演一名教师。虽然巴迪欧未曾将其六十年来所写的电影评论并入其艺术哲学体系，但其中的对于电影本体的分析依旧存在着其“非美学”思想及事件哲学的影子。例如其近年所发表的《电影作为一种哲学实验》和早年《电影作为虚假运动》之中，“电影制造综合”“电影是理论对可感物的拜访”等论断与其非美学理论具有一贯性。

本文从巴迪欧的事件哲学出发，使用巴迪欧的术语体系，将其事件哲学、“非美学”艺术哲学和电影理论做一次爬梳和勾连，分析其核心理论事件哲学与次级理论艺术哲学、电影理论之间的关系。研究发现，巴迪欧的电影理论是其事件哲学和艺术哲学的延展和演绎。电影中的“综合”作为一种动作，即是其事件哲学中的“介入（intevention）”，而作为一种结果，则是其事件哲学中的一个“调研（enquête）”，其艺术哲学中的“艺术构型(artconfiguration)”。

As a highly regarded European philosopher, Badiou wrote a great deal of art criticism and aesthetic theory in addition to his philosophy of events. His aesthetic theory is concentrated in the Petit Manuel d’inesthétique(Handbook of inaesthetics) in which Badiou names his conception of the relationship between art and philosophy as ‘inaesthetics’, meaning that in his terminology, the relationship between art and philosophy overturns the traditional view of aesthetics. The term ‘inaesthetics’ was added as a negative prefix to the word aesthetics.
Besides the philosopher, Badiou is also a cinephile. During his school years, Badiou began writing film reviews in a catholic magazine Vin nouveau and was a great admirer of Godard, even starring as a teacher in Godard's Film Socialism. Although Badiou has not incorporated his film criticism over the past sixty years into his philosophy of art, his film ontology still has similar characteristics of inaesthetics. For example, in his recent publication Film as a Philosophical Experiment, the assertion that "film makes synthesis" is consistent with his theory of "artistic configuration".
The thesis applies Badiou's philosophy of events, his " inaesthetics" philosophy of art, and film theory to analyze the relationship between his core theory of events, his secondary theory of art, and his film theory. The study finds that Badiou's film theory is an extension and interpretation of his event philosophy and art philosophy. As an action, "synthesis" in film is an "intervention" in his event philosophy, and as a result, it is an "enquête" in his event philosophy. As a result, it is an "enquête" in its philosophy of events, and an "artistic configuration" in its philosophy of art.