The Nature of Thought Between Philosophy and Cinema: Exploring an Ambiguous Space.

Abstract

Film, as a multifaceted medium, serves not only as a vehicle for storytelling but also as a significant platform for philosophical inquiry, bridging the gap between abstract concepts and visual representation. Through cinematic techniques, filmmakers can evoke profound questions regarding existence, morality, and the human condition, inviting audiences to engage in reflective thought. This relationship is evident in how films often incorporate themes that challenge viewers to confront their assumptions about reality and identity.

In the context of human cognition's receptiveness to a multi-sensory environment, cinema emerged as a significant aesthetic revolution within the domain of moving images and the broader art world. Its universal appeal and extensive reach prompted thinkers such as Walter Benjamin to assert that cinema represented the sole art form destined to thrive in the future. Similarly, Eisenstein embraced this viewpoint, regarding cinema as the most suitable art form for a post-industrial society. This perspective was subsequently elaborated upon by other intellectuals, who recognized cinema as a vital area of study and a significant concept.

This study seeks to explore the initial connections between philosophy and cinema, subsequently examining the hypotheses that film can contemplate.

Do all literary forms engage with thought in a uniform manner? Is it possible for philosophy to alter our perception of film as an artistic or media entity? Conversely, can cinema provide us with alternative perspectives on understanding philosophy? Additionally, this inquiry raises several other questions that could serve as a foundation for future researchers to investigate within a field that has not yet received extensive attention in the Middle Eastern sphere in particular.