Percepcia a apercepcia z hľadiska Leibnizovej filozofie, alebo povaha kinematografickej subjektivizácie
Perception and Aperception in Terms of Leibniz Philosophy or the Nature of Cinematographic Subjectivisation

Summary/Abstract: The philosophical concepts of Gottfried Leibniz, Henri Bergson and Gilles Deleuze, and especially parts that contribute to development of theoretical thinking about film became the inspiration for writing this study. Leibniz writes about perception and aperception 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 projection, that is perceived (film images). Due to 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 of 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 aperception, when we recollect our original identity. Then the memory restores us to our original subjective „I“, which was temporarily forgotten as our senses were under the influence of film images. The film is depleted of the basic assumption of experience if it does not offer adequate forms of subjectivisation and 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 bring sensational colourfulness into the experience of the film’s story.

• Details
• Contents