Praise of perceptive materiality of the images: coexistence, hybridization and ontological overruns (movie vs. video)
DOI:
https://doi.org/10.19132/1807-8583201636.30-45Keywords:
Intentionality. Visual Thinking. Rudolph Arnheim. Perception. Cinema.Abstract
The aim of this article is to discuss the matter of the perceptive intentionality as an essential condition to understand the cinema, not only in its differences or kind of oppositions (fiction or experimental); or in its system of image (analog or digital), but also in its hybrid possibilities of the merger between the film and video. Rather than interrogate the cinema in its restrictive scope, this study intend to replace the cinema in its migration (support, space and perceptual environment). From the concept of “visual thinking” developed by Rudolph Arnheim, it remains possible to put back the desire and the intentional power presence in the moving image. Do we look at the world as we watch a movie? Or is the opposite true? How a perceptive and phenomenological reading of art – especially the cinema in its differences – raises the question of the being and the appearance?Downloads
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