There is a harmony between Andre Bazin＇s and Maurice Merleau-Ponty＇s approaches to cinema. They both see cinema as a new imperative language to express the being, capable of reflecting on our promiscuity with the wo...There is a harmony between Andre Bazin＇s and Maurice Merleau-Ponty＇s approaches to cinema. They both see cinema as a new imperative language to express the being, capable of reflecting on our promiscuity with the world and things. Both realized the ontological bet that the game of imagination contains： the emergence of the image wrapped in a back and forth movement, from things to form, from fact to sense and meaning, and vice versa. The purpose of this article is to discuss Merleau-Ponty＇s and Bazin＇s interest in an ontological investigation of the cinema, analyzing their affinities and differences, identifying paths to be explored and affirming a certain idea of cinema.展开更多
文摘There is a harmony between Andre Bazin＇s and Maurice Merleau-Ponty＇s approaches to cinema. They both see cinema as a new imperative language to express the being, capable of reflecting on our promiscuity with the world and things. Both realized the ontological bet that the game of imagination contains： the emergence of the image wrapped in a back and forth movement, from things to form, from fact to sense and meaning, and vice versa. The purpose of this article is to discuss Merleau-Ponty＇s and Bazin＇s interest in an ontological investigation of the cinema, analyzing their affinities and differences, identifying paths to be explored and affirming a certain idea of cinema.
