Bazin favored every means to increase the ＂reality coefficient＂ in cinema. He specially prized cinema showing events integrally, what means, on the one hand, to show simultaneously and fully all the characters and a...Bazin favored every means to increase the ＂reality coefficient＂ in cinema. He specially prized cinema showing events integrally, what means, on the one hand, to show simultaneously and fully all the characters and all the objects pertaining to an event, and on the other to show the event integrally as it develops in time. Additionally Bazin showed that such a procedure reduces the purely literary component in cinema, and, correspondingly, increases its illusory force--as to the fictional reality presented. Yet, Bazin＇s work is not systematic, giving us brilliant insights scattered through many essays. Following Bazin＇s main idea, this presentation attempts to systematically discuss the illusory potential of the shot presenting an event integrally as compared with the imaginary, that is, literary character introduced in cinema by suggesting an event by means of montage and fragmentary shots. We proceed by means of a detailed consideration of the belief-structure of the aesthetic experience corresponding to the single shot integrally showing an event and to montage suggesting an event by means of fragmentary shots. The core of the presentation lies in defining the concept of aesthetic belief as the propositional attitude having the structure accepting that P without believing that P is the case. We will carefully distinguish that structure in the case of illusion from the case of imagination as well as from illusion as sensory-based deception.展开更多
文摘Bazin favored every means to increase the ＂reality coefficient＂ in cinema. He specially prized cinema showing events integrally, what means, on the one hand, to show simultaneously and fully all the characters and all the objects pertaining to an event, and on the other to show the event integrally as it develops in time. Additionally Bazin showed that such a procedure reduces the purely literary component in cinema, and, correspondingly, increases its illusory force--as to the fictional reality presented. Yet, Bazin＇s work is not systematic, giving us brilliant insights scattered through many essays. Following Bazin＇s main idea, this presentation attempts to systematically discuss the illusory potential of the shot presenting an event integrally as compared with the imaginary, that is, literary character introduced in cinema by suggesting an event by means of montage and fragmentary shots. We proceed by means of a detailed consideration of the belief-structure of the aesthetic experience corresponding to the single shot integrally showing an event and to montage suggesting an event by means of fragmentary shots. The core of the presentation lies in defining the concept of aesthetic belief as the propositional attitude having the structure accepting that P without believing that P is the case. We will carefully distinguish that structure in the case of illusion from the case of imagination as well as from illusion as sensory-based deception.
