Starting from reflections by Mitry, notably influenced by Husserlian phenomenology, the essay presents an analysis of the spectator’s gaze in cinema. The gaze is construed as an intricate interplay between mental and cinematic images, so as an interplay between the self-manifestation of thought and the dual dimension of the cinematic sign: linguistic and psychological. Wherein projection serves as a Husserlian instance of “presentification”, the contribution, through the investigations of Metz and Sobchack, invites reflection upon the cam- era’s gaze, embodied by the viewer through subjective and semisubjective perspectives and on cinema’s ability to make virtual spaces habitable.
Lo sguardo fra reale e virtuale. Teoria del cinema e costruzione del visibile / B. Grespi. - In: PHILM. - ISSN 2974-6442. - 2:(2023 Oct 19), pp. 83-98. [10.13136/2974-6442/v02/2023/083]
Lo sguardo fra reale e virtuale. Teoria del cinema e costruzione del visibile
B. Grespi
2023
Abstract
Starting from reflections by Mitry, notably influenced by Husserlian phenomenology, the essay presents an analysis of the spectator’s gaze in cinema. The gaze is construed as an intricate interplay between mental and cinematic images, so as an interplay between the self-manifestation of thought and the dual dimension of the cinematic sign: linguistic and psychological. Wherein projection serves as a Husserlian instance of “presentification”, the contribution, through the investigations of Metz and Sobchack, invites reflection upon the cam- era’s gaze, embodied by the viewer through subjective and semisubjective perspectives and on cinema’s ability to make virtual spaces habitable.
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