University of Tabriz Journal of Philosophical Investigations 2251-7960 20 55 2026 06 22 Film Consciousness: a phenomenological approach to the reciprocal perception of spectator and film Film Consciousness: a phenomenological approach to the reciprocal perception of spectator and film 55 78 20995 10.22034/jpiut.2025.69286.4208 FA Payam Zinalabedini Assistant Professor, Department of Advanced Studies of Art, School of Visual Arts, College of Fine Arts, University of Tehran, Tehran, Iran. Journal Article 2025 09 23 Objective: “This article examines the dynamic, reciprocal relationship between spectator and film, arguing that viewing is not a passive reception but a mutual perceptual interaction rooted in Merleau-Ponty’s concept of “intentionality.” The study explores how cinematic structures activate cognitive-emotional processes, while the viewer’s lived experiences simultaneously reconstruct the film’s meaning.” Methods: Utilizing a phenomenological approach, this research analyzes the experiential encounter between viewer and screen. By drawing on phenomenological film theory specifically the works of Merleau-Ponty and Vivian Sobchack the study investigates how perception, embodiment, and intentionality function within the cinematic experience. Results: The findings demonstrate that intentionality is bidirectional. Beyond the viewer’s gaze, the film acts as a “living body” that actively perceives the spectator. This interaction creates a “perceptual-experiential loop,” where cinematic form invites engagement, and the viewer, through mindfulness and empathy, generates meaning. Conclusions: The study concludes that cinematic meaning emerges in an intersubjective space at the intersection of the filmic text and the spectator’s consciousness. In this encounter, the spectator is not merely an observer but is also perceived by the film, resulting in a shared, reflexive field of awareness between the viewer and the cinematic experience. Objective: “This article examines the dynamic, reciprocal relationship between spectator and film, arguing that viewing is not a passive reception but a mutual perceptual interaction rooted in Merleau-Ponty’s concept of “intentionality.” The study explores how cinematic structures activate cognitive-emotional processes, while the viewer’s lived experiences simultaneously reconstruct the film’s meaning.” Methods: Utilizing a phenomenological approach, this research analyzes the experiential encounter between viewer and screen. By drawing on phenomenological film theory specifically the works of Merleau-Ponty and Vivian Sobchack the study investigates how perception, embodiment, and intentionality function within the cinematic experience. Results: The findings demonstrate that intentionality is bidirectional. Beyond the viewer’s gaze, the film acts as a “living body” that actively perceives the spectator. This interaction creates a “perceptual-experiential loop,” where cinematic form invites engagement, and the viewer, through mindfulness and empathy, generates meaning. Conclusions: The study concludes that cinematic meaning emerges in an intersubjective space at the intersection of the filmic text and the spectator’s consciousness. In this encounter, the spectator is not merely an observer but is also perceived by the film, resulting in a shared, reflexive field of awareness between the viewer and the cinematic experience.

https://philosophy.tabrizu.ac.ir/article_20995_7e7f4fc8f68ef705417bcfd4da462106.pdf