As we said on “Cinema according to “The Frontiers” we consider cinema because we can leave our static way to consider reality. The philophical tradition has always tried to face our limits of perception (Shall Achille overcome the turtle? How platonic ideas are immutable? and so on…)

Moreover the progress of science show us a dynamic reality in which traditional “substances” and staticity are are not more useful to understand the essence of things. We are always here, triyng to manage with limits of our perception and awareness, and hoping to understand more about our place in the universe. This is why the title “The Frontiers” seems the most suitable to express what we are talking about.

Firstly we have to clarify what we mean with “image”. We consider it as it is: an “organization of perception” (Gestalt as phenomenologists like to call). It can be also a sound, or a smell.

When we are awake we think in terms of “staticity” because we need it to survive but the real nature of “perception” is a continuos movement. This is why when we dream there is more “perception” than we are used to think: everything is without logic because external perception are confused with internal “past perceptions”.  This happens because each “present perception” never ends. It is what Leibniz (before Freud) called unconscious considering our perception of waterfall or seaside in which each wave is perceived only unconscoiusly. This is also why psycoanalysis plays with language and his connection with this contradicting and confused world. And why for a psycoanalist is more important the “signifiant” than “significance”, because “signifiant” indicate to us the direction of our psyche.

A contradictory dreamlike image is a photo of this “becoming” and this is why it can give us more information about our self than anything else.

Photo: a scene taken by “Soul”, film animation by Disney Pixar

Click Here to watch the video backstage

“Girls of Venice” is a movie series written and directed by Swan Bergman. A new contemporary young esoterism is going to redeem Venice.

Here the Backstage of the Trailer shooted during summer 2020 in Venice.

For more information: girlsofvenice.com 

Shooting: Marco Aliano and Alexandra Tataru

Post Pro: Marco Aliano

As we have already seen in other articles, the image is an organization of “perception”. But what is a “perception”? Bergson called the “perception” the effects of something that is related to the needs of a “living-being”. In this sense “perception” is a “sottraction”, a focus only in what it is necessary for the “living-being”, and not a principle of knowledge.

If we consider perception and his meaning for humans we find interesting “Film” the first and last film directed by Samuel Beckett.  Human perception, differenlty from the animal’s one, depends by “identity” and “recognition”. The existentialist author Beckett asked to himslef: but what happens if someone tries to escape this recognition? In the film’s first sequence we see a man running away from looks filmed by a 45° perspective (Deleuze writes “it is a “perception of action”). When the man finds finally himself alone in a room, he cover everything similar to an eye (mirrors, animals…), now at 90° we see both subjective perception and objective (there is no an external hipotetic poit of view). In the end, while tha man fall asleep, tha camera turn around him and finally watch him in front of his face: he open the eyes and discovers by what he was running, the double self, the “perception of himself by himself”. Deleuze called it the most terryfing “affection image”, because it plays with relativity of our identities. It is what the psycoanalist Lacan called “mirror’s function”, the fact that to perceive ourself we need the look of an Other, and the birth of human Subjectiveness by the look of parents and society.