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RESEARCH PRODUCT

Experience and Existence Revisited Something Essential on A Philosophical Education in Film Art

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Abstract The film, the living imagery, traces out its legend before the eyes of the viewer seated there in the darkened space, and in his consciousness becomes a lived spectacle, an interiorised impress of experience. It takes up its abode in him and he falls in step with its movement, merging with the stream of its narrative. In this there evolves an aesthetic-existential situation – of one, many; of one, a qualitative multiplicity is born, and with it the experienced essence of the unique, the inimitable. On this same, the critic pronounces judgement – as often as not his verdict – on this spectacle which he – and another – has beheld; that individual, original experience is thus now couched in words, petrified on paper. Whose judgement is the right one? whose wrong? Who is entitled, who in duty bound to pronounce a final word on this? Who or what can speak as if for a collective audience? And who then is being silenced, who makes himself heard? And if in this some faceless, nameless nobody is to be imagined viewing, experiencing the scene, then who – or what – has played the decoy, and who has been bamboozled? And what of the film itself – is there anything left of it? Something of the essence must indeed be said by way of inculcating a more philosophical appreciation of film. Or does even this carry in it a seed of that same totalisation, a burgeoning aspiration to erase whatever is unique? He who reads will know, will feel it.