Hi Mike,
Well, I don't agree neither with Bazin's nor Perniola's point of view.
Since we're dealing with an artistic form of expression there is no need to
look after any means of capturing reality in an accurate way. The flour of
it is that there is no accurate way at all.
In practice, not just theoretically, "reality" is constantly being distorted
by film makers in a plethora of ways and with that approach you can provoke
a response in spectators who can then grasp new insights about their
relationship to "reality".
I think with that distortion people can ask themselves: what am I seen or
hearing? What is all thing about? What means reality? What about me in all
this process?
Of course we can find relationships between Philosophy and Cinema but I
would prefer to keep things separated. Art and Philosophy have their own
commitments and tasks so for their development's sake let's concentrate on
what we know better.
Film makers are far from making a total philosophical work because we deal
with art and here there is no need to explain things just to experience
them, not the mind understands here but our higher being that relinks to
what is universal. Actually in a religious way in the etymological sense of
're-ligare' (reconnect) to the universe.
I will suggest you to watch movies not just paying attention to the
transcendental approach in argument (which is most of the time intellectual)
but to the aesthetic approach which reveals much a real transcendental
content directly to your senses. It is harder to grasp, I know, but this is
what art is all about.
My films I would recommend you are the following:
- Carl Theodor Dreyer's GERTRUD (Kubelka once said that this film is
extremely abstract)
- Robert Bresson's L'ARGENT
- Sergei Paradjanov's THE COLOUR OF THE POMEGRANATES
- Jean-Marie Straub's THE DEATH OF EMPEDOCLES
- Miklós Jancsó's THE RED PSALM
Best wishes,
Juan Antonio Rivera Vila
Film maker (Spain)
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