MOVEMENT OF REPRESENTATION: MERLEAU-PONTY AND CINEMA AS ONTOLOGICAL MODEL

Abstract

The article proposes to analyze the briefs studies Merleau-Ponty have done around the seventh art and to evaluate the affinity between them and his phenomenological proposal. Focusing attention on the notions of temporality and movement in conjunction with his cinema conception, we hold that the philosopher finds in film experience not only a main expression of the mankind as being in the world, but also a model for redefining time and movement beyond objective thought’s conditions. Furthermore, we hold, thanks to the phenomenal movement’s analysis, an ontological primacy of movement that is reported by cinema, too.