PERCEPTION AND APPERCEPTION IN TERMS OF LEIBNIZ PHILOSOPHY OR THE NATURE OF CINEMATOGRAPHIC SUBJECTIVISATION (Percepcia a apercepcia z hladiska Leibnizovej filozofie alebo povaha kinematografickej subjektivizacie)
Selected contents from this journal
Languages of publication
The philosophical concepts by Gottfried Leibniz, Henri Bergson and Gilles Deleuze, and especially parts that contributed to the development of theoretical thinking about film became the inspiration for writing this study. Leibniz writes about perception and apperception as two fundamental moments of cognition of the external (object) and the internal (subject). Identification occurs during the impact of film illusion on perception that is identification of perception of sentient (viewer) and perceived projection (film images). Due to the identification with film, a viewer is able to respond to the film content authentically and realistically. Extent of identification, which is the essence of film experience, is one of the ways how to approach the understanding of film reality. The second way is the realization of this relationship as something unreal and illusive. This knowledge takes place in the act of apperception, when we recollect our original identity. The film is depleted of the basic assumption of experience if it does not offer adequate forms of subjectivisation and it is not seen as the game with identification. Subjectivisation is a basic condition of recognition of film work. It is created around the chronological image-concept (main character). It is essential for the perception of film as it extends into the affects and subordinate consciousness and brings sensational colourfulness into the experience of the film's story.
Publication order reference
CEJSH db identifier