نوع مقاله : مقاله علمی- پژوهشی
نویسنده
استادیار دانشگاه تهران، دپارتمان هنرهای نمایشی و موسیقی، پردیس هنرهای زیبا، دانشگاه تهران، تهران، ایران
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسنده [English]
This article examines the dynamic, reciprocal relationship between spectator and film, arguing that the process of watching a film is not merely a passive reception but rather a mutual perceptual interaction deeply rooted in Merleau-Ponty’s notion of “intentionality.” Drawing upon the foundations of phenomenology, this study demonstrates how the film’s narrative, stylistic, and sensory structures activate the spectator’s cognitive and emotional processes, and, conversely, how the spectator’s experiences, memories, and expectations complete and reconstruct the meaning of the film. This reciprocal intentionality flows not only from the spectator toward the film, but—as Sobchack asserts—the film also, as a “living body” with an active gaze, looks back at the spectator and participates in this perceptual interaction. The article proposes the concept of the “perceptual–experiential loop.” Within this loop, the film, through its narrative and formal elements, invites the spectator into participation, while the spectator, through mindfulness and empathy/identification, confers meaning upon the film. The resulting dynamic reveals that the meaning of the film emerges in an interstitial space—at the intersection between the cinematic “text” and the spectator’s mental “context.” In this dynamic, the spectator not only perceives the film but is, in turn, perceived by it, culminating in what can be termed film consciousness.
کلیدواژهها [English]
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