Critical discourses on contemporary digital cinema tend to be either overtly negative, framed within a rhetoric of loss or disenfranchisement, or unilaterally positive, celebrating the user agency and freedom digital technologies enable. Both these conceptual positions are unhelpful because they either focus on what contemporary digital cinema fails to do or what it should do, without examining more closely how it actually functions. What is needed is a third, neutral approach which takes both sides into consideration but is also aware of their limitations and weaknesses. This thesis takes as its impetus Giles Deleuze’s suggestion that, just like the cinemas of the movement-image and the time-image before it, contemporary digital cinema needs a basic will to art – a new aesthetic principle, a new function of the image, a new politics, a new representational potential distinct from those that have come before it. The aim of this thesis is therefore to establish this will to art and explore its ramifications for and manifestations in contemporary digital cinema. Taking into consideration a variety of filmic texts from the 1980s to the present day which prominently feature diegetically recorded footage, as well as amateur film-making practices from the home movies of the 1960s to the video clips now uploaded to online media sharing platforms, the increasing relevance of home media in the reception of contemporary digital cinema, and most crucially the process of convergence inherent in digital media, this thesis argues that the will to art of contemporary digital cinema is intimacy.