Naslov
Differences between film and reality as indicators of the special status of film perception

Autori
Rojnić, Marko

Vrsta, podvrsta i kategorija rada
Sažeci sa skupova, neobjavljeni rad, ostalo

Skup
International Lisbon Conference on Philosophy and Film: Thinking Reality and Time Through Film, Centro de Filosofia de Universidade de Lisboa

Mjesto i datum
Lisabon, Portugal, 06.05.2014. - 10.05.2014

Vrsta sudjelovanja
Predavanje

Vrsta recenzije
Nije recenziran

Ključne riječi
perception ; reality ; experience ; decontextualization ; factors of difference

Sažetak
Although perceiving a film relies upon our standard perceptual mechanisms used to manage in reality, our total reaction to film is not completely reducible to them, because perceiving a film is in many ways different and distinct from perceiving reality. We recognize film as a special phenomenon because our standard reactions are formed under nonstandard conditions: all experiences are derived from a framed rectangle filled with patterns of light, and the world perceived in a film is completely decontextualized. In other words, we cannot extend our concrete experience of dealing and coping with reality on the perception of film scenes and viewpoints that film offers, because perception of a film scenes and viewpoints that film offers is different from and inconsistent with the context of the real life in which we are, mainly, in continuous touch with our environment. Therefore, because we're not prepared for what to expect in a film, film scenes have to be made in such a way that we as film viewers can establish sufficient context and compensate their decontextualization. Thus, film perception is a different kind of perception, an epistemologically reduced perception, an anchored/nested perception (because when watching a film, we're watching a scene in a scene, a scene within a scene). By discussing factors of difference between film and reality, which specify film scene as a scene of special status, I'll suggest that factors of difference are not only factors of limitations, but factors of new possibilities, because they open the opportunity for experiences elaborated in a way which we in reality do not necessarily experience, or at least not when we want to. In other words, I'll argue that they provide us with an answer on the status of film - what kind of being is film, what kind of mode of existence is film - that is, serve us to transfer film into another existential category, into a category of communicational artifacts made with special purposes. Drawing on these purposes, I'll conclude with a sketch of experiencing a film as an epistemological and communicational event.

Izvorni jezik
Engleski

Znanstvena područja
Psihologija, Filozofija, Filmska umjetnost (filmske, elektroničke i medijske umjetnosti pokretnih slika)

POVEZANOST RADA