Le plan subjectif réversible: Sur le point de vue au cinéma à partir des écrits de Merleau-Ponty

When I am watching a movie, I perceive on the screen a space, which is united and lived, even if it appears as fragmented and separated from the world in which I live. But is the space of the cinematic frame equivalent or commensurable with the one I see through my own eyes? Are they opposed to each other or do they merge together? The most amazing example of the possible convergence of gaze and frame the f lm realizes is the phenomenon of vision showing itself in the point-of-view shot. How can I perceive what I see on the screen as the vision of another, and the f lm itself as someone else's vision? How does this relationship between the visual f eld of the f lm and my own, between my body and the screen, challenge the limits between objective and subjective? Drawing on Merleau-Ponty's reflections about cinema and visibility, I try to outline the traits of what I would call a reversible point-of-view shot.