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Husserlian Representation In Film

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Human subjectivity upholds an objectifying relation to the world mediated through representation. As Dudley’s notion, the relationship between the world and body is sketched out through communication. Every mode of communication is created its own world. So representation is not re-presentation, which is always presentation. There is a matter of fact presentative in presentation. In the 1890s Husserl used the term Reprasentation (with this spell) to let out the concept varied ways of being attentive. Husserlian Reprasentation is no longer representation which uphold special mental act to stress anti-representational intentionality consciousness. Husserlian Phenomenology explains representation related to the experience of an art object which …show more content…

‘Husserl speaks of the process of apprehension in which an individual utilizes what is lived through an object’.
In Husserlian language, consciousness admits intentionality. By the intentionality of consciousness, Husserl means to mark the fact that consciousness is always consciousness of something (15). The perceptual situation is conceived as the perceiver grasps the objects in their experience, an object that transcends in their cognitive acts. The experience of film implies such transcendence where the mind cognitively grasps objects. furthermore, in transcendence, the object reached out to their apprehension. (39)
Husserlian modeling of representation may be seen to occupy a middle ground position between the transactionalism. The Transparency theory is most notably proponent by Andre Basin. In Bazin’s view spectators in apprehending cinematic representation confront objects that stand in a transparent relationship with reality; when we apprehend what a motion picture depicts, we see through the film object to the real object …show more content…

The basic concept is that the film image bears a transparent relationship to reality. The image of a window is evoked to explain the transparency involved. As spectators, in connecting to the real via photography, we are positioned prior to a window through which we are looked at the things themselves. According to Bazin, film image is to be ‘evaluated not according to what it adds to reality but what it reveals of it.’(63)
Phenomenology of filmic representation will be developed in relation to image, sound, narrative, documentary, content and reception. The act of experiencing a film is to be constitutive of the very object of perception. “Instead of seeing the activity of an image’s meaning we see through our perceptual habit and the image’s construction to an already meaningful world” (Bills Nichols)
According to Husserl there are three moments in every act of perception, which attain all together – noematic, noetic and hyletic (sense). These moments arise together when we perceive the object of our experience. ( Casebier

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