The main purpose of my paper is to introduce a new approach to visual and cinema studies that redefines the idea of image in its traditional, aesthetical status. One of several philosophers that have got engaged in polemics with Deleuzian film theory, presented in a two-volume book Cinema 1. The movement- image, Cinema 2. The time-image, Giorgio Agamben introduced his own new theoretical proposition. He suggested replacing the fundamental aesthetical understanding of image with the rather ethical and political idea of the gesture. By criticizing the Deleuzian semiotic taxonomy of images he entered the discussion on contemporary film theory with a completely fresh approach. In my paper I will not only present his core ideas on film theory studies but also explain what the consequences of his theory are on the studies of images in contemporary culture. Agambenian ideas do not simply focus on film theory but rather reflect a specific condition of society and culture that he has examined throughout his academic career. Basing on his philosophy I will then introduce the works of Guy Debord and his artistic strategy that I suggest analyzing with references to Agambenian philosophy. By basing my analysis on the two most important and meaningful films by Debord, I seek for connections between their critical and political dimensions and the core concepts created and developed by the Italian philosopher - gesture, potentiality, difference, repetition, etc.