Negociações do real entre a fenomenologia e a filmologia

uma abertura ao mundo

Abstract

The use of proposals that choose to think about the images that the cinematographic apparatus creates came to the point, between the 1940s and 1950s, of including both the effects and even the formal construction of cinematic images in the sphere of philosophy. In France, the new language of the moving image migrated from critical analyzes of art to the epistemic universe. Among the first to directly discuss cinema in this sphere are Henri Bergson, Etienne Jules Marey, Elie Faure to some extent outside the country, Sergei Eisenstein and Hugo Munsterberg. This reflection, in France, was guided by what was called filmology from the 1950s onwards, based on the work that extended in critical reverberations in the field of film studies, especially in the France of his birth, the book by Gilbert Cohen Séat – Essai sur les princes d'une philosophie du cinema (1958). This article resonates with the changes in research towards a type of anthropology of film reception, as well as the impact of a certain climate on a film criticism scenario.