The main focus of the article is a deep analysis of theoretical views on the cinema expressed by a French theorist and director Jean Epstein. One of the basic concepts for Epstein is photogénie; this key notion is conceptualized through the prism of phenomenological method, in particular, in connection with the analytics of affectivity offered by E. Husserl. However, photogénie is only a starting point in Epstein’s film theory. The notions of motion, space and time are much more important for him. Movement is understood as the ontological basis of cinematic representation (“The Intelligence of the Machine”); it leads the French theorist to the idea that the cinema is not only a means to represent the world; rather, it is a means to see the world. Relativity becomes the main principle guiding the film theory. It takes us to another phenomenological project, namely, the affective phenomenology of seeing expressed by M. Merleau-Ponty. Thus, the article shows the conceptual links between Epstein’s theory and philosophy of Merleau-Ponty.
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- Arts and Humanities (miscellaneous)