Saturday, July 05, 2008

The ontology of Cinematography and reflections on Cinema.

Re: FILMOSOPHY- Ontology of Cinematography and reflection on Cinema.
The ontology of cinematography and the reflections on cinema addresses the question of what film is, what makes a film a film, and to examine what Wittgenstein would call the grammar of our concept of film and the role films play in the forms of our life.
The ability to record moving images therefore arrived at the modernist and histories of cinema together belong to the modernism. In the convergence of humanistic enterprise, scientific inquiry, artistic endeavor and philosophical debates that, together framed both modernism and the birth of cinema.
Cinematography is the projection of images suspended in time and space. The Images that are seemingly real have their own grammar and represent their own world,” An autonomous world”. These images that are recorded and projected, which are in constant conversation with us and are trying to say something(s), which are sometimes akin to our own experiences and beyond, and this beyond can only be mediated through participation.
It is up to the man posited at both the ends that of a creator and receiver (perceiver, audience, participator, critic and Investigator) to make meaning out of these images,” The images in conversation”.
The ontology of film is to relate to the nature and reflexivity of film, Film about film, to examine its own processes and structures. Film thus becomes an investigation and demonstration of its own properties, an epistemological and didactic enterprise.
In a GREENBERGERIAN sense film is located in the history of modernism, A radical divide from the past academic disciplines and forms of art (literature, painting, music). As such film is posited in modernity a technological revolution. To refer to SHARITS one can see the dual nature of film (recording process-optical/ material process) a problematic eqivocality which is perhaps cinema’s most ontological issue.
The film is self-referential is a tool of inquiry in to the problems of film language and film being. The images or sequences in film making are organized in order to convey a determinate sense of meaning, in other words the need of reference and denotation governs the structures of all the various levels down wards. This particular need in cinema to capture a likeness of the world can be dispensed with and consequently new structural protocols introduced. These need not lead to meaninglessness because a principle of self-referentiality is introduced. So the film is about itself and its own structure.
Film because of it duality of being can both be an autonomous object and its own self-representation. Through the idea of the object hood of the film itself, through its circular process of self-reflection, film is now directed towards its own nature.
In the general arena of ideology, film making can avoid pitfalls of illusionism, of simply being a substitute for the world parasitic on ideology, which it reproduces as reality.
Film as projected in time and space given to its organic nature (that of raw material assuming forms, shapes, sounds etc) seems like breathing life by which it seems to equally assume the significance of the world as we experience it. Film by the nature off its own self-reflexivity as “life” is ontologically bound to philosophy as a discipline. Posited in modernity cinematography (FILM) in a magical sense has become central to being and philosophy.
The essence of art does not lie in mere craftsmanship of the thing so that the encountered can disclose itself in its being. In an encounter with a work of art, we become more fully present and we bring what we have experienced and who we are in to play and our whole self-understanding is placed in balance or suspended. The experience takes place in the unity and continuity of our own self-understanding. The legitimacy of the art does not lie in the disinterested aesthetic pleasure but when it reveals as being. It presents us with a world, A new world.
When an Artist/film maker who has the power to transform in to an image or a form his experience of being the materials that are used are not altered but transformed. There is a total mediation and mediation of art must be thought as a whole. It is precisely the experience of art which shows that the work of art has an authentic being in the fact that in becoming experience it transforms the experiencer. ”The work of art works.”
The subject of the experience of art the thing that endures through time is not the subjectivity of the one who experiences the work but it is the work itself.
A world is out there for exploration .but neither the empirical description of entities within it nor even the ontological interpretation of the individual as such will encounter the phenomenon of world. The world is something sensed “along side” the entities that appear in the world. Yet understanding must be through world. World and understanding are inseparable parts of the ontological constitution of being in its existence. The world in which we exist is more than simply the realm of the preconscious operation of the mind in perception. It is the realm in which the actual resistance and possibilities in the structure of being shape understanding. In short it is the realm of hermeneutical process by which being becomes thematized as language a filmic language.
As Paul Sharits would put it, the most fruitful research procedure lies in making films that are indeed in the strict sense of the word experimental. Such films made by the researchers would produce information about their own linguistic /cinematic/philosophical structures.
As Deleuze would hint when he says: "This is the first aspect of the new cinema [time-image]: the break in the sensory-motor link (action-image), and more profoundly in the link between man and the world.
Much of what he says is based in a belief that cinema has in fact changed the way we think and feel about times and the world we live in.
A paradigmatic shift in terms of our understanding and construction of reality, An ontological reality that is based on Dasein, whose essence of understanding lies in the discloser of the concrete potentialities for being within the horizons of one’s own placement in the world to a newer understanding, a profound change in our perception of a world, where filmic reality interlopes and inter operates with the self.
Thus the self-referential film is a tool of inquiry in to the problems of film language and film being.
Through the idea of object hood of the film itself as in its autonomous nature, through the circular process of self-reflection, self examination, self investigation film is directed towards its own nature” seen as ontologically inherent in the medium, where Film and philosophy together in their reflexivity can forge a common ground as in "Filmosophy," giving rise to a new discipline of thinking and epistemic investigation in to the very nature of unknown and Film making,( Digital content) thus can be a project of meaning with horizons beyond itself.