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ql\li3802\sb0\sl-322\slmult0 \par\pard\ql\li3802\sb248\sl-322\slmult0 \up0 \expn
dtw-6\charscalex100 \ul0\nosupersub\cf1\f2\fs28 ntoarcerea n pe\u351?tera cinemato
grafic\u259? \par\pard\ql \li6032\sb0\sl-276\slmult0 \par\pard\ql\li6032\sb220\s
l-276\slmult0 \up0 \expndtw-3\charscalex100 \ul0\nosupersub\cf2\f3\fs24 1. \par\
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a\u355?a privirii urm\u259?toarea imagine: ntr-o nc\u259?pere asemeni unei pe\u351
?teri, se afl\u259? \line \up0 \expndtw-2\charscalex100 oameni.\u8221?\ul0\super
\cf4\f5\fs22\ul0\super\cf4\f5\fs21 1\ul0\nosupersub\cf3\f4\fs24 Precum n starea
originar\u259? imaginat\u259? de John Rawls, ei nu \u351?tiu cine sunt. \u8220?E
i \line \up0 \expndtw-2\charscalex100 nu \u351?i cunosc propriile nevoi, dorin\u3
55?e, capacit\u259?\u355?i, \u351?i pozi\u355?ia lor social\u259?. Nu \u351?tiu
dac\u259? sunt \line \up0 \expndtw-2\charscalex100 b\u259?trni sau tineri, b\u259
?rba\u355?i sau femei, talenta\u355?i sau netalenta\u355?i. Ei nu \u351?i cunosc
nici m\u259?car \line \up0 \expndtw-2\charscalex100 propriile lor reprezent\u259
?ri de valoare, adic\u259? ceea ce, n opinia lor, e valoros n via\u355?\u259?. Ei
\line \up0 \expndtw-2\charscalex100 sunt separa\u355?i de propria lor personalit
ate printr-un v\u259?l de ignoran\u355?\u259?.\u8221?\ul0\super\cf4\f5\fs22\ul0\
super\cf4\f5\fs21 2\ul0\nosupersub\cf3\f4\fs24 Asist\u259?m la o \par\pard\ql \
li1801\ri1703\sb5\sl-275\slmult0 \up0 \expndtw-2\charscalex100 pierdere de memor
ie metodic\u259?. La un alt nivel de intensitate al fic\u355?ionaliz\u259?rii af
l\u259?m c\u259? nu \line \up0 \expndtw-2\charscalex100 au vrut s\u259?-\u351?i
aminteasc\u259? nimic, c\u259? ceea ce au l\u259?sat n urm\u259? nu reprezint\u25
9? altceva dect \line \up0 \expndtw-2\charscalex100 \u8220?pustiul Realului\u8221
?.\ul0\super\cf4\f5\fs22\ul0\super\cf4\f5\fs21 3\ul0\nosupersub\cf3\f4\fs24 Pen
tru c\u259?, a\u351?a cum bine sublinia S.M Eisenstein n \u8220?cine-dialectica\u
8221? \line \up0 \expndtw-2\charscalex100 sa, \u8220?realul nu prezint\u259? nic
iun interes dect n m\u259?sura n care i acord\u259?m noi sens \u351?i l \line \up0 \e
xpndtw-2\charscalex100 decript\u259?m\u8221?.\ul0\super\cf4\f5\fs22\ul0\super\cf
4\f5\fs21 4\ul0\nosupersub\cf3\f4\fs24 Suntem n \ul0\nosupersub\cf5\f6\fs24 Lest
ercorp\ul0\nosupersub\cf3\f4\fs24 (\u8220?un loc n care s\u259? munce\u351?ti \u
351?i s\u259? te sim\u355?i bine\u8221?), ntre \line \up0 \expndtw-2\charscalex10
0 etajul 7 si etajul 8, ca ntr-un fel de bre\u351?\u259? n nara\u355?iunea existen
\u355?ial\u259?.\ul0\super\cf4\f5\fs22\ul0\super\cf4\f5\fs21 5\ul0\nosupersub\cf
3\f4\fs24 Suntem la cinema. \line \up0 \expndtw-2\charscalex100 Prin intermediu
l ecranului, nconjura\u355?i de peisajul apocaliptic al unei lumi pustiite, \line
\up0 \expndtw-2\charscalex100 \u8220?filosoful\u8221? (Morpheus, Socrate etc.)
ne prezint\u259? un \u8220?punct-de-vedere\u8221? privilegiat, \line \up0 \expnd

tw-2\charscalex100 proiectat n pe\u351?tera cinematografic\u259? ca superior din

punct de vedere ierarhic \u8220?micilor\u8221? \line \up0 \expndtw-2\charscalex1
00 viziuni, imaginea privilegiat\u259? n jurul c\u259?reia restul imaginilor se c
er orientate. \par\pard\ql \li1801\sb265\sl-276\slmult0 \up0 \expndtw-2\charscal
ex100 Pentru Jean-Louis Baudry filmul produce un efect totalizator, sala de cine
ma \par\pard\ql \li1801\ri1663\sb4\sl-276\slmult0 \up0 \expndtw-2\charscalex100
func\u355?ioneaz\u259? asemenea uterului matern activnd dorin\u355?a noastr\u259?
incon\u351?tient\u259? de a ne \line \up0 \expndtw-2\charscalex100 ntoarce la o
stare de dezvoltare psihic\u259? anterioar\u259? form\u259?rii ego-ului, n care d
istinc\u355?ia \line \up0 \expndtw-2\charscalex100 dintre sine \u351?i cel\u259?
lalt, interior \u351?i exterior, nu se manifest\u259?.\ul0\super\cf4\f5\fs22\ul0
\super\cf4\f5\fs21 6\ul0\nosupersub\cf3\f4\fs24 n sala de cinema lumea este \lin
e \up0 \expndtw-2\charscalex100 pus\u259? din nou ntre paranteze, spectatorul ac\
u355?ionnd asemenea unui refugiat, \u8220?indiciul c\u259? \line \up0 \expndtw-2\
charscalex100 spectatorul de cinema r\u259?mne, dincolo de legitim\u259?rile cult
urale, un subiect c\u259?ruia i \line \up0 \expndtw-2\charscalex100 lipse\u351?te
ceva, prad\u259? doliului \u351?i singur\u259?t\u259?\u355?ii.\u8221?\ul0\super
\cf4\f5\fs22\ul0\super\cf4\f5\fs21 7\ul0\nosupersub\cf3\f4\fs24 Precum n filmele
lui Lars Von Trier (vezi \line \up0 \expndtw-2\charscalex100 \ul0\nosupersub\cf
5\f6\fs24 The element of crime, Europa, Epidemic\ul0\nosupersub\cf3\f4\fs24 ), s
pectatorul se ntoarce n cabinetul \line \up0 \expndtw-2\charscalex100 psihanalistu
lui ntr-un soi de c\u259?l\u259?torie hipnotic\u259?, n c\u259?utarea vindec\u259?
rii, ntr-un univers \line \up0 \expndtw-2\charscalex100 cuprins de o epidemie nec
unoscut\u259? (n \ul0\nosupersub\cf5\f6\fs24 Epidemic\ul0\nosupersub\cf3\f4\fs24
afl\u259?m c\u259? de fapt chiar \u8220?fic\u355?iunea\u8221? este \line \up0 \
expndtw-2\charscalex100 cea care genereaz\u259? ntr-o manier\u259? pervers\u259?
\u8220?boala\u8221?). Spectatorul de cinema devine \line \up0 \expndtw-2\charsca
lex100 subiectul psihanalizei. El experimenteaz\u259?: 1) \u8220?identificarea p
rimar\u259?\u8221? (faza n care nu mai \line \up0 \expndtw-4\charscalex100 operea
z\u259? potrivit dihotomiilor clasice, obiect - subiect / eu - cel\u259?lalt, le
gndu-se afectiv \line \up0 \expndtw-2\charscalex100 de imaginea \u8220?mam\u259?\
u8221?) \u351?i 2) \u8220?stadiul oglinzii\u8221? (identificarea cu o imagine pr
in intermediul \line \up0 \expndtw-2\charscalex100 c\u259?reia se descoper\u259?
pe sine \u351?i pe cel\u259?lalt, diferen\u355?ierea primar\u259? prin intermed
iul c\u259?reia eul \par\pard\qj \li1801\ri2079\sb211\sl-220\slmult0 \up0 \expnd
tw-2\charscalex100 \ul0\super\cf6\f7\fs18\ul0\super\cf6\f7\fs17 1\ul0\nosupersub
\cf7\f8\fs20 Martin Heidegger, \ul0\nosupersub\cf8\f9\fs20 Doctrina lui Platon
despre adev\u259?r\ul0\nosupersub\cf7\f8\fs20 , n Repere pe drumul gndirii, Editur
a Politic\u259?, \up0 \expndtw-4\charscalex100 1988, pg. 171. \par\pard\qj \li18
01\ri2155\sb4\sl-240\slmult0 \up0 \expndtw-3\charscalex100 \ul0\super\cf6\f7\fs1
8\ul0\super\cf6\f7\fs17 2\ul0\nosupersub\cf7\f8\fs20 Niels Christian Stefansen,
\ul0\nosupersub\cf8\f9\fs20 Liberalismul american modern\ul0\nosupersub\cf7\f8\
fs20 , n Filosofia n secolul XX / coord: Anton \up0 \expndtw-4\charscalex100 Hugli
, Paul Lubcke, vol.2, ed. All Educational, 2003, pg. 321. \par\pard\ql \li1801\s
b1\sl-215\slmult0 \up0 \expndtw-2\charscalex100 \ul0\super\cf6\f7\fs18\ul0\super
\cf6\f7\fs17 3\ul0\nosupersub\cf7\f8\fs20 \ul0\nosupersub\cf8\f9\fs20 The Matri
x \ul0\nosupersub\cf7\f8\fs20 (1999), reg. Andy Wachowski, Lana Wachowski. \par\
pard\qj \li1801\ri1789\sb21\sl-220\slmult0 \up0 \expndtw-3\charscalex100 \ul0\su
per\cf6\f7\fs18\ul0\super\cf6\f7\fs17 4\ul0\nosupersub\cf7\f8\fs20 Jacques Aumo
nt, Alain Bergala, Michel Marie, Marc Vernet, \ul0\nosupersub\cf8\f9\fs20 Esteti
ca Filmului\ul0\nosupersub\cf7\f8\fs20 , ed. Idea Design & Print, \up0 \expndtw4\charscalex100 Cluj, 2007, pg. 61. \par\pard\ql \li1801\sb12\sl-230\slmult0 \up
0 \expndtw-2\charscalex100 \ul0\super\cf6\f7\fs18\ul0\super\cf6\f7\fs17 5\ul0\no
supersub\cf7\f8\fs20 \ul0\nosupersub\cf8\f9\fs20 Being John Malkovich\ul0\nosup
ersub\cf7\f8\fs20 (1999), reg. Spike Jonze, scen. Charlie Kaufman. \par\pard\qj
\li1801\ri2678\sb0\sl-230\slmult0 \up0 \expndtw-2\charscalex100 \ul0\super\cf6\
f7\fs18\ul0\super\cf6\f7\fs17 6\ul0\nosupersub\cf7\f8\fs20 Robert Stam, Robert
Burgoyne, Sandy Flitterman-Lewis, \ul0\nosupersub\cf8\f9\fs20 New vocabularies i
n film semiotics: \up0 \expndtw-3\charscalex100 structuralism, post-structuralis
m and beyond\ul0\nosupersub\cf7\f8\fs20 , Taylor & Francis e-Library, 2005, pg.

146-147. \up0 \expndtw-3\charscalex100 \ul0\super\cf6\f7\fs18\ul0\super\cf6\f7\f

s17 7\ul0\nosupersub\cf7\f8\fs20 Jacques Aumont, Alain Bergala, Michel Marie, M
arc Vernet, \ul0\nosupersub\cf8\f9\fs20 Ibidem\ul0\nosupersub\cf7\f8\fs20 , pg.
194.
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arscalex100 \ul0\nosupersub\cf3\f4\fs24 ncepe s\u259? fie conturat). Pe ecran se
succed scene n care spa\u355?iul interior (psihic) pare a fi \line \up0 \expndtw2\charscalex100 proiectat \u8220?n afar\u259?\u8221?, astfel c\u259?, de\u351?i \
u8220?realitatea\u8221? nu nceteaz\u259? s\u259? fie prezent\u259?, o parte a \li
ne \up0 \expndtw-2\charscalex100 acestei realit\u259?\u355?i este \u8220?n\u259?l
\u355?at\u259? la un nivel magic\u8221? devenind un \u8220?ecran al viselor\u822
1? (nevoia de \line \up0 \expndtw-2\charscalex100 iluzie pe care libido-ul se fu
ndamenteaz\u259?).\ul0\super\cf4\f5\fs22\ul0\super\cf4\f5\fs21 8\ul0\nosupersub\
cf3\f4\fs24 \u8220?Exist\u259? ceva real n iluzia ns\u259?\u351?i, mai real \line
\up0 \expndtw-2\charscalex100 dect realitatea din spatele iluziei\u8221?.\ul0\su
per\cf4\f5\fs22\ul0\super\cf4\f5\fs21 9\ul0\nosupersub\cf3\f4\fs24 Aparen\u355?
a are un adev\u259?r propriu. O proto-realitate, \line \up0 \expndtw-2\charscale
x100 dincolo de nara\u355?iune, de semnifica\u355?ie, o realitate autonom\u259?,
fundamental\u259?. \u8220?Avem nevoie \line \up0 \expndtw-2\charscalex100 de sc
uza unei fic\u355?iuni pentru a pune n scen\u259? ceea ce suntem cu adev\u259?rat
\u8221?.\ul0\super\cf4\f5\fs22\ul0\super\cf4\f5\fs21 10 \par\pard\ql \li6032\sb0
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r\pard\ql \li1801\sb0\sl-275\slmult0 \par\pard\ql\li1801\ri1677\sb10\sl-275\slmu
lt0 \up0 \expndtw-2\charscalex100 \ul0\nosupersub\cf3\f4\fs24 Putem interpreta f
ilosofia platonician\u259? din perspectiva permanentei lupte n care sunt \line \u
p0 \expndtw-2\charscalex100 angrenate fenomenele, aflate undeva ntre a fi \u351?i
a nu fi. Platon r\u259?mne pn\u259? n final \line \up0 \expndtw-2\charscalex100 \u
8220?bntuit de logica primar\u259? a lui Parmenide, cel dinti care distinge cele d
ou\u259? modalit\u259?\u355?i \line \up0 \expndtw-2\charscalex100 ale cunoa\u351
?terii, doxa \u351?i cunoa\u351?terea sau intelectul. Pentru el, ca \u351?i pent
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0?ceea-ce-este\u8221?, \u351?i inevitabil adev\u259?rat\u259?, ns\u259? doxa era
o confuzie \line \up0 \expndtw-2\charscalex100 f\u259?r\u259? speran\u355?\u259?
ntre a fi \u351?i a nu fi, \u351?i n mod egal inevitabil fals\u259?. Nu exist\u25
9? o cale de mijloc \line \up0 \expndtw-2\charscalex100 ntre a fi \u351?i a nu fi
. ns\u259? pentru Platon doxa poate fi corect\u259?. Solu\u355?ia sa const\u259? n
a postula \line \up0 \expndtw-2\charscalex100 un stadiu intermediar ntre cunoa\u
351?tere \u351?i ignoran\u355?a complet\u259?, \u351?i n a concepe avansarea \lin
e \up0 \expndtw-2\charscalex100 nspre cunoa\u351?tere ca o recuperare gradual\u25
9? a adev\u259?rului depozitat n subcon\u351?tient. \line \up0 \expndtw-2\charsca

lex100 Obiectul acestei forme intermediare de cogni\u355?ie l constituie lumea ex

perien\u355?ei comune, \line \up0 \expndtw-2\charscalex100 c\u259?reia Parmenide
i-a refuzat cu ndr\u259?zneal\u259? orice tip de fiin\u355?\u259?. Credin\u355?a
lui Platon n \line \up0 \expndtw-2\charscalex100 Forme i-a permis acestuia s\u25
9? i acorde o pseudo-existen\u355?\u259?, \u8220?ntre a fi \u351?i a nu fi\u8221?,
ca un set \line \up0 \expndtw-5\charscalex100 de copii ale Formelor\u8230?\u822
1?\ul0\super\cf4\f5\fs22\ul0\super\cf4\f5\fs21 11 \par\pard\qj \li1801\sb0\sl-28
0\slmult0 \par\pard\qj\li1801\ri1711\sb1\sl-280\slmult0 \up0 \expndtw-2\charscal
ex100 \ul0\nosupersub\cf3\f4\fs24 Eliberarea din pe\u351?ter\u259? \u351?i ntoarc
erea filosofului la \u8220?prizonierii\u8221? r\u259?ma\u351?i corespunde n fapt
\up0 \expndtw-3\charscalex100 celor dou\u259? momente ale dialecticii: \par\pard
\ql \li2161\ri1756\sb264\sl-276\slmult0\tx2521\tx2521\tx2521\tx2521\tx2521\tx252
1\tx2521\tx2521\tx2521\tx2521\tx2521 \up0 \expndtw-4\charscalex100 1) momentul
\u8220?ascendent\u8221?, acel adev\u259?r ca stare-de-neascundere din interpreta
rea \line\tab \up0 \expndtw-2\charscalex100 heideggerian\u259?, n care imaginea r
\u259?mne o cortin\u259? ce trebuie dat\u259? la o parte \u351?i n \line \tab \up0
\expndtw-2\charscalex100 spatele c\u259?reia nu se afl\u259? nimic. Eliberatul
din pe\u351?ter\u259? descoper\u259? cele mai nainte \line \tab \up0 \expndtw-2\c
harscalex100 ascunse devalorizndu-le ontologic pe cele l\u259?sate n spate. Nimic
din ceea ce \line \tab \up0 \expndtw-5\charscalex100 \u8220?apare\u8221? nu este
ontologic vorbind. \u8220?Nu exist\u259? orchestr\u259?\u8230?Totul este o \lin
e \tab \up0 \expndtw-2\charscalex100 nregistrare\u8230?E doar o iluzie.\u8221?\ul
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nu doar arat\u259?, ci \u351?i ascunde, distan\u355?eaz\u259?. \line \tab \up0
\expndtw-2\charscalex100 n spatele locvacit\u259?\u355?ii cinematografice se afl\
u259? t\u259?cerea. n crea\u355?ia lui Ingmar \line \tab \up0 \expndtw-4\charscal
ex100 Bergman distan\u355?a simbolizat\u259? de realitatea ca un ecran se cere i
nteriorizat\u259?. Ceea \line \tab \up0 \expndtw-2\charscalex100 ce se afl\u259?
\u8220?dincolo\u8221? de ecran nu difer\u259? n mod esen\u355?ial de ceea ce se
afl\u259? \line \tab \up0 \expndtw-2\charscalex100 \u8220?dincoace\u8221?. ntre p
ersoanele umane opereaz\u259? acela\u351?i tip de distan\u355?\u259?, n spatele \
line \tab \up0 \expndtw-2\charscalex100 raporturilor lor se afl\u259? aceea\u351
?i cenzur\u259? n ceea ce prive\u351?te cunoa\u351?terea celuilalt. \line \tab \u
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atunci cnd l atingem pentru a-i garanta \par\pard\qj \li1801\sb0\sl-220\slmult0 \
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b\cf8\f9\fs20 Ibidem\ul0\nosupersub\cf7\f8\fs20 . \par\pard\ql \li1801\sb12\sl-2
30\slmult0 \up0 \expndtw-4\charscalex100 \ul0\super\cf6\f7\fs18\ul0\super\cf6\f7
\fs17 10\ul0\nosupersub\cf7\f8\fs20 \ul0\nosupersub\cf8\f9\fs20 Ibidem\ul0\nosu
persub\cf7\f8\fs20 . \par\pard\qj \li1801\ri1670\sb0\sl-240\slmult0 \up0 \expndt
w-3\charscalex100 \ul0\super\cf6\f7\fs18\ul0\super\cf6\f7\fs17 11\ul0\nosupersub
\cf7\f8\fs20 W.K.C Guthrie, \ul0\nosupersub\cf8\f9\fs20 A History of Greek Phil
osophy, vol IV - Plato: the man and his dialogues earlier period\ul0\nosupersub\
cf7\f8\fs20 , \up0 \expndtw-4\charscalex100 Cambridge University Press, pg. 492.
\par\pard\ql \li1801\sb1\sl-193\slmult0 \up0 \expndtw-4\charscalex100 \ul0\supe
r\cf6\f7\fs18\ul0\super\cf6\f7\fs17 12\ul0\nosupersub\cf7\f8\fs20 \ul0\nosupers
ub\cf8\f9\fs20 Mulholland Dr. \ul0\nosupersub\cf7\f8\fs20 (2001), reg. David Lyn
ch.
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\sl-276\slmult0 \par\pard\ql\li2521\sb0\sl-276\slmult0 \par\pard\ql\li2521\sb0\s
l-276\slmult0 \par\pard\ql\li2521\sb108\sl-276\slmult0 \up0 \expndtw-2\charscale
x100 \ul0\nosupersub\cf3\f4\fs24 un loc n ontologia personal\u259?. ntreaga tensiu
ne specific\u259? lumii fenomenale, \par\pard\ql \li2521\ri1629\sb0\sl-276\slmul
t0 \up0 \expndtw-2\charscalex100 continua transformare n care se las\u259? antren
at\u259? materia oferindu-ne n fiecare clip\u259? \line \up0 \expndtw-2\charscale
x100 succesiuni de imagini ce nu dureaz\u259?, m\u259?rturise\u351?te despre nim
icnicia specific\u259? \line \up0 \expndtw-3\charscalex100 existen\u355?ei umane
. Ecranul are o semnifica\u355?ie ambivalent\u259?, ca suport al \line \up0 \exp
ndtw-2\charscalex100 semnifica\u355?iei, dar \u351?i ca ceva ce se interpune ntre
subiect \u351?i lume. Lumea ecranului \line \up0 \expndtw-2\charscalex100 ne es
te inaccesibil\u259? iar noi suntem inaccesibili lumii ecranului. Arta imaginilo
r nu \line \up0 \expndtw-2\charscalex100 poate produce cunoa\u351?tere.\ul0\supe
r\cf4\f5\fs22\ul0\super\cf4\f5\fs21 13\ul0\nosupersub\cf3\f4\fs24 A\u351?a cum
sublinia Slavoj Zizek, dac\u259? dincolo de ecran \line \up0 \expndtw-2\charscal
ex100 nu se afl\u259? nimic, acela\u351?i lucru poate fi valabil \u351?i n cazul
persoanei, con\u351?tiin\u355?a \line \up0 \expndtw-4\charscalex100 fiind doar u
n ecran superficial dincolo de care se\ul0\nosupersub\cf7\f8\fs20 \ul0\nosupers
ub\cf3\f4\fs24 afl\u259? un complex circuit neuronal \line \up0 \expndtw-2\chars
calex100 \u8220?orb\u8221?.\ul0\super\cf4\f5\fs22\ul0\super\cf4\f5\fs21 14\ul0\n
osupersub\cf3\f4\fs24 Ancorat n filosofia lui Hegel \u351?i n cea a lui Sartre, p
entru Lacan, \u8220?din \line \up0 \expndtw-4\charscalex100 cauz\u259? c\u259? s
ubiectul nu este nimic din punct de vedere metafizic, subiectul este \line \up0
\expndtw-2\charscalex100 fic\u355?iunea necesar\u259? fabricat\u259? ntru repreze
ntare\u8221?.\ul0\super\cf4\f5\fs22\ul0\super\cf4\f5\fs21 15\ul0\nosupersub\cf3\
f4\fs24 Privit\u259? fiind din aceast\u259? \line \up0 \expndtw-2\charscalex100
perspectiv\u259?, putem identifica lumea ecranului cu \u8220?al treilea termen\
u8221? (\u8220?cel\u259?lalt\u8221? \line \up0 \expndtw-2\charscalex100 prezent n
limbaj \u351?i cultur\u259?), n care subiectul descoper\u259? o identitate ficti
v\u259?, costul \line \up0 \expndtw-3\charscalex100 acestei descoperiri constitu
indu-l cimentarea alien\u259?rii-de-sine.\ul0\super\cf4\f5\fs22\ul0\super\cf4\f5
\fs21 16 \par\pard\ql \li2161\sb268\sl-276\slmult0\tx2521 \up0 \expndtw-3\charsc
alex100 \ul0\nosupersub\cf3\f4\fs24 2) \tab \up0 \expndtw-4\charscalex100 moment
ul \u8220?descendent\u8221?, heideggerianul adev\u259?r reinterpretat n sensul de
\par\pard\ql \li2521\ri1703\sb0\sl-276\slmult0 \up0 \expndtw-2\charscalex100 co
rectitudine a privirii n care imaginea, privit\u259? fiind n lumina Ideii, este p\
u259?strat\u259? \line \up0 \expndtw-2\charscalex100 n fiin\u355?\u259? \u351?i s
alvat\u259?, n care imaginea este din nou apt\u259? s\u259? apar\u259? n ceea-ce-e
ste. \line \up0 \expndtw-2\charscalex100 n\u355?eleptul se ntoarce n pe\u351?ter\u2
59? valoriznd paidetic \u8220?umbrele\u8221?, nscriindu-le, \line \up0 \expndtw-2\
charscalex100 fixndu-le corect n ordinea fiin\u355?ei, imaginea transformndu-se ntro etap\u259? \line \up0 \expndtw-2\charscalex100 necesar\u259? reorient\u259?rii
omului, o treapt\u259? c\u259?tre ceea-ce-este. Precum n filosofia lui \line \up
0 \expndtw-2\charscalex100 Deleuze, putem vorbi n cinema de o pedagogie a imagini
i, instrument prin \line \up0 \expndtw-2\charscalex100 intermediul c\u259?reia r
ealitatea este perfec\u355?ionat\u259?, n care secven\u355?a ac\u355?ioneaz\u259?
\line \up0 \expndtw-2\charscalex100 asemenea unei con\u351?tiin\u355?e.\ul0\sup
er\cf4\f5\fs22\ul0\super\cf4\f5\fs21 17\ul0\nosupersub\cf3\f4\fs24 n pe\u351?ter
a modern\u259? numit\u259? cinema spectatorul nva\u355?\u259? \line \up0 \expndtw
-2\charscalex100 s\u259? priveasc\u259?. \u8220?Pentru a vorbi despre ce este vi
a\u355?a, artistul se folose\u351?te de ceva \line \up0 \expndtw-2\charscalex100
mort; pentru a vorbi despre infinit, el arat\u259? finitul. Substitu\u355?ie\u8
230?infinitul nu poate \line \up0 \expndtw-2\charscalex100 fi realizat ntru mater
ie, dar este posibil s\u259? creezi o iluzie a infinitului: \line \up0 \expndtw3\charscalex100 imaginea.\u8221?\ul0\super\cf4\f5\fs22\ul0\super\cf4\f5\fs21 18

\par\pard\ql \li1801\sb268\sl-276\slmult0 \up0 \expndtw-2\charscalex100 \ul0\nos

upersub\cf3\f4\fs24 \u8220?Imaginea \u351?i gndirea nu sunt entit\u259?\u355?i ab
stracte \u351?i separate.\u8221?\ul0\super\cf4\f5\fs22\ul0\super\cf4\f5\fs21 19\
ul0\nosupersub\cf3\f4\fs24 Ne afl\u259?m la polul opus \par\pard\ql \li1801\ri1
609\sb5\sl-275\slmult0 \up0 \expndtw-2\charscalex100 \u8220?acoperirii\u8221? me
todice prezent\u259? n ontologia parmenidian\u259? (\u351?i cu repercursiuni perm
anente \line \up0 \expndtw-4\charscalex100 n filosofia greac\u259?), al \u8220?cr
izei\u8221? pe care punerea lumii \u8220?ntre parenteze\u8221? a provocat-o. \lin
e \up0 \expndtw-2\charscalex100 \u8220?Intervalul\u8221? dintre fiin\u355?\u259?
\u351?i existen\u355?a acoperit\u259?, dintre inteligibil \u351?i sensibil, din
tre \u8220?ceea ce \line \up0 \expndtw-2\charscalex100 este\u8221? \u351?i \u822
0?ceea ce apare\u8221? este anulat.\ul0\super\cf4\f5\fs22\ul0\super\cf4\f5\fs21
20\ul0\nosupersub\cf3\f4\fs24 \u8220?Realul este apari\u355?ia ca apari\u355?ie
, el nu doar apare n \line \up0 \expndtw-2\charscalex100 cadrul apari\u355?iilor,
ci nu este altceva dect propria apari\u355?ie\u8230?\u8221?\ul0\super\cf4\f5\fs2
2\ul0\super\cf4\f5\fs21 21\ul0\nosupersub\cf3\f4\fs24 Precum n filosofia \par\pa
rd\qj \li1801\ri3369\sb234\sl-240\slmult0 \up0 \expndtw-3\charscalex100 \ul0\sup
er\cf6\f7\fs18\ul0\super\cf6\f7\fs17 13\ul0\nosupersub\cf7\f8\fs20 Thomas E. Wa
rtenberg, \ul0\nosupersub\cf8\f9\fs20 Thinking on Screen - Film as Philosophy\ul
0\nosupersub\cf7\f8\fs20 , Routledge, 2007. \up0 \expndtw-4\charscalex100 \ul0\s
uper\cf6\f7\fs18\ul0\super\cf6\f7\fs17 14\ul0\nosupersub\cf7\f8\fs20 Slavoj Ziz
ek, \ul0\nosupersub\cf8\f9\fs20 On belief\ul0\nosupersub\cf7\f8\fs20 , Routledge
, 2001. \par\pard\qj \li1801\ri1725\sb0\sl-240\slmult0 \up0 \expndtw-3\charscale
x100 \ul0\super\cf6\f7\fs18\ul0\super\cf6\f7\fs17 15\ul0\nosupersub\cf7\f8\fs20
Richard Allen, \ul0\nosupersub\cf8\f9\fs20 Psychoanalytic Film Theory\ul0\nosup
ersub\cf7\f8\fs20 , in A Companion to Film Theory, edited by Toby Miller and \up
0 \expndtw-4\charscalex100 Robert Stam, Blackwell Publishing, 2004. \par\pard\ql
\li1801\sb1\sl-215\slmult0 \up0 \expndtw-4\charscalex100 \ul0\super\cf6\f7\fs18
\ul0\super\cf6\f7\fs17 16\ul0\nosupersub\cf7\f8\fs20 \ul0\nosupersub\cf8\f9\fs2
0 Ibidem\ul0\nosupersub\cf7\f8\fs20 . \par\pard\ql \li1801\sb4\sl-217\slmult0 \u
p0 \expndtw-3\charscalex100 \ul0\super\cf6\f7\fs18\ul0\super\cf6\f7\fs17 17\ul0\
nosupersub\cf7\f8\fs20 Gilles Deleuze, \ul0\nosupersub\cf8\f9\fs20 Cinema 1 -Th
e Movement-Image\ul0\nosupersub\cf7\f8\fs20 , The Athlone Press, 1986. \par\pard
\ql \li1801\sb13\sl-230\slmult0 \up0 \expndtw-3\charscalex100 \ul0\super\cf6\f7\
fs18\ul0\super\cf6\f7\fs17 18\ul0\nosupersub\cf7\f8\fs20 Andrei Tarkovsky, \ul0
\nosupersub\cf8\f9\fs20 Sculpting in Time\ul0\nosupersub\cf7\f8\fs20 , Universit
y of Texas Press, 2003, pg. 38. \par\pard\qj \li1801\ri1824\sb0\sl-230\slmult0 \
up0 \expndtw-2\charscalex100 \ul0\super\cf6\f7\fs18\ul0\super\cf6\f7\fs17 19\ul0
\nosupersub\cf7\f8\fs20 Jean-Clet Martin, \ul0\nosupersub\cf8\f9\fs20 Of Images
and Worlds: Toward a Geology of the Cinema\ul0\nosupersub\cf7\f8\fs20 , in The
brain is the screen: \line \up0 \expndtw-3\charscalex100 Deleuze and the philoso
phy of cinema, edited by Gregory Flaxman, University of Minnesota Press, 2000, \
line \up0 \expndtw-4\charscalex100 pg. 61. \par\pard\qj \li1801\ri2113\sb9\sl-22
0\slmult0 \up0 \expndtw-3\charscalex100 \ul0\super\cf6\f7\fs18\ul0\super\cf6\f7\
fs17 20\ul0\nosupersub\cf7\f8\fs20 Gheorghe Vl\u259?du\u355?escu, \ul0\nosupers
ub\cf8\f9\fs20 Ontologie \u351?i metafizic\u259? la greci - Presocraticii\ul0\no
supersub\cf7\f8\fs20 , ed. Paideia, Bucure\u351?ti, 1998. \up0 \expndtw-4\charsc
alex100 \ul0\super\cf6\f7\fs18\ul0\super\cf6\f7\fs17 21\ul0\nosupersub\cf7\f8\fs
20 Slavoj Zizek, \ul0\nosupersub\cf8\f9\fs20 op.cit\ul0\nosupersub\cf7\f8\fs20
., pg. 80.
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arscalex100 \ul0\nosupersub\cf3\f4\fs24 bergsonian\u259?, n cadrul sistemului de
imagini din care se compune lumea, trupul constituie \up0 \expndtw-2\charscalex1
00 imaginea privilegiat\u259? ce le condi\u355?ioneaz\u259? pe celelalte\ul0\sup
er\cf4\f5\fs22\ul0\super\cf4\f5\fs21 22\ul0\nosupersub\cf3\f4\fs24 , iar \u8220?
eu nu am un trup, eu sunt \up0 \expndtw-3\charscalex100 trupul meu \u351?i el co
incide n mod absolut cu mine\u8221?.\ul0\super\cf4\f5\fs22\ul0\super\cf4\f5\fs21
23 \par\pard\ql \li1801\sb0\sl-275\slmult0 \par\pard\ql\li1801\ri1638\sb11\sl-27
5\slmult0 \up0 \expndtw-2\charscalex100 \ul0\nosupersub\cf3\f4\fs24 \u8220?Cinem
a-ul este un fenomen idealizator\u8221?\ul0\super\cf4\f5\fs22\ul0\super\cf4\f5\f
s21 24\ul0\nosupersub\cf3\f4\fs24 , ns\u259?, prin reproducerea mecanic\u259? a r
ealului pe \line \up0 \expndtw-2\charscalex100 care o opereaz\u259?, el vine s\u
259? satisfac\u259? obsesia noastr\u259? n ceea ce prive\u351?te realismul. Asist
\u259?m \line \up0 \expndtw-2\charscalex100 n fapt la o \u8220?transferare a real
it\u259?\u355?ii\ul0\nosupersub\cf7\f8\fs20 \ul0\nosupersub\cf3\f4\fs24 de la l
ucru nspre reproducerea sa.\u8221?\ul0\super\cf4\f5\fs22\ul0\super\cf4\f5\fs21 25
\ul0\nosupersub\cf3\f4\fs24 Potrivit lui \line \up0 \expndtw-4\charscalex100 De
leuze cinematografia nu reprezint\u259? ceva ontologic diferit de restul lumii.
Asist\u259?m la o \line \up0 \expndtw-4\charscalex100 de-platonizare a \u8220?im
aginii\u8221?. Imaginea nu este nici asem\u259?nare, nici venire n prim-plan a \l
ine \up0 \expndtw-2\charscalex100 unei lumi separat\u259? \u351?i \u8220?artific
ial\u259?\u8221?, nici devenire sensibil\u259? a ideilor sau a formelor, nici \l
ine \up0 \expndtw-2\charscalex100 fabricare de semne angajate ntr-un proces const
ant de destabilizare. Caracterul de \line \up0 \expndtw-4\charscalex100 \u8220?i
magine\u8221? reprezint\u259? o tr\u259?s\u259?tur\u259? ontologic\u259? pentru
tot ceea ce este, Fiin\u355?a ns\u259?\u351?i este \line \up0 \expndtw-2\charscal
ex100 \u8220?fiin\u355?a-imagine\u8221?. \u8220?Imaginea-mi\u351?care\u8221? con
stituie \u8220?materia\u8221? subzistent\u259? din care celelalte \line \up0 \ex
pndtw-5\charscalex100 imagini se diferen\u355?iaz\u259?.\ul0\super\cf4\f5\fs22\u
l0\super\cf4\f5\fs21 26 \par\pard\ql \li6032\sb0\sl-276\slmult0 \par\pard\ql\li6
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charscalex100 \ul0\nosupersub\cf2\f3\fs24 3. \par\pard\ql \li1801\sb0\sl-275\slm
ult0 \par\pard\ql\li1801\ri1617\sb10\sl-275\slmult0 \up0 \expndtw-2\charscalex10
0 \ul0\nosupersub\cf3\f4\fs24 Am intrat ntr-o epoc\u259? n care, potrivit lui Gunt
her Anders, imaginile imaginilor, \u8220?valul \line \up0 \expndtw-2\charscalex1
00 global de imagini\u8221?, inundarea sistematic\u259? cu imagini, imagini rupt
e din context care, n \line \up0 \expndtw-2\charscalex100 loc s\u259? arate lumea
, o ascund. O realitate fabricat\u259? prin intermediul c\u259?reia spectatorulu
i i \line \up0 \expndtw-4\charscalex100 se arat\u259? cum este realitatea. Corec
titudinea privirii despre care ne vorbe\u351?te Heidegger se \line \up0 \expndtw
-4\charscalex100 transform\u259? ntr-un veritabil program de manipulare n mas\u259
?. Evenimentul reprodus, \line \up0 \expndtw-2\charscalex100 standardizat prin i
ntermediul senza\u355?ionalului, devine mai important din punct de vedere \line
\up0 \expndtw-2\charscalex100 social dect evenimentul original. Realul este const
ruit \u8220?dup\u259? imaginea reproducerii \line \up0 \expndtw-2\charscalex100
sale\u8221?. O viziune pe care Chuck Palahniuk o conduce c\u259?tre consecin\u35
5?ele sale ultime: dac\u259? \line \up0 \expndtw-2\charscalex100 nu e\u351?ti vi
zibil, n sensul mediatic al termenului, nu exi\u351?ti cu adev\u259?rat. Cu ct e\u
351?ti mai \line \up0 \expndtw-2\charscalex100 departe de aceste reproduceri, cu
att e\u351?ti mai aproape de aneantizare devenind invizibil. \line \up0 \expndtw
-2\charscalex100 \u8220?Nimeni nu o s\u259? se uite la mine. Sunt invizibil\u259
?\u8221?.\ul0\super\cf4\f5\fs22\ul0\super\cf4\f5\fs21 27\ul0\nosupersub\cf3\f4\f
s24 \u8220?Iconomania\u8221? constituie noul model \line \up0 \expndtw-2\charsc
alex100 de ierarhizare ontologic\u259? a lumii, noua form\u259? de \u8220?mutila
re\u8221?, de excludere a celui ce nu \line \up0 \expndtw-2\charscalex100 \u355?
inte\u351?te \u8220?asem\u259?narea\u8221? la care l invit\u259? \u8220?chipul\u8

221? dumnezeului acestui veac - ecranul. Pentru \line \up0 \expndtw-2\charscalex

100 c\u259? \u8220?nu m\u259? simt destul de real\u259? cnd nu sunt oameni care s
\u259? se uite la mine\u8221?\ul0\super\cf4\f5\fs22\ul0\super\cf4\f5\fs21 28\ul0
\nosupersub\cf3\f4\fs24 , \line \up0 \expndtw-2\charscalex100 m\u259?rturise\u35
1?te eroina romanului \ul0\nosupersub\cf5\f6\fs24 Mon\u351?trii invizibili\ul0\n
osupersub\cf3\f4\fs24 . Via\u355?a nu mai este dect o metafor\u259? a \line \up0
\expndtw-3\charscalex100 televiziunii n care singura paradigm\u259? o constituie
\u8220?pop icon\u8221?-ul. \line \up0 \expndtw-4\charscalex100 Spiritul cinemato
grafic a nceput s\u259? inspire toate tipurile de ecrane; \u8220?cinematograful a
\line \up0 \expndtw-2\charscalex100 devenit un cerc al c\u259?rui centru se afl
\u259? peste tot, iar a c\u259?rui circumferin\u355?\u259? nu se afl\u259? \line
\up0 \expndtw-2\charscalex100 nic\u259?ieri.\u8221?\ul0\super\cf4\f5\fs22\ul0\s
uper\cf4\f5\fs21 29\ul0\nosupersub\cf3\f4\fs24 Ceea ce tr\u259?im este o \u8220
?cineviziune\u8221?, o \u8220?cinemanie\u8221? generalizat\u259?, ntr-un \u8220?c
ult \par\pard\ql \li1801\sb0\sl-230\slmult0 \par\pard\ql\li1801\sb173\sl-230\slm
ult0 \up0 \expndtw-4\charscalex100 \ul0\super\cf6\f7\fs18\ul0\super\cf6\f7\fs17
22\ul0\nosupersub\cf7\f8\fs20 Jean-Clet Martin, \ul0\nosupersub\cf8\f9\fs20 op.
cit. \par\pard\ql \li1801\sb10\sl-230\slmult0 \up0 \expndtw-2\charscalex100 \ul0
\super\cf6\f7\fs18\ul0\super\cf6\f7\fs17 23\ul0\nosupersub\cf7\f8\fs20 Jean-Luc
Marion, \ul0\nosupersub\cf8\f9\fs20 Fenomenul erosului\ul0\nosupersub\cf7\f8\fs
20 , ed. Deisis, Sibiu, 2004, pg.161. \par\pard\qj \li1801\ri3424\sb0\sl-240\slm
ult0 \up0 \expndtw-3\charscalex100 \ul0\super\cf6\f7\fs18\ul0\super\cf6\f7\fs17
24\ul0\nosupersub\cf7\f8\fs20 Andre Bazin, \ul0\nosupersub\cf8\f9\fs20 What is
Cinema?\ul0\nosupersub\cf7\f8\fs20 , vol 1, University Of California Press, 1967
, pg. 17. \up0 \expndtw-4\charscalex100 \ul0\super\cf6\f7\fs18\ul0\super\cf6\f7\
fs17 25\ul0\nosupersub\cf7\f8\fs20 \ul0\nosupersub\cf8\f9\fs20 Ibidem\ul0\nosup
ersub\cf7\f8\fs20 , pg. 14. \par\pard\ql \li1801\ri1794\sb0\sl-230\slmult0 \up0
\expndtw-2\charscalex100 \ul0\super\cf6\f7\fs18\ul0\super\cf6\f7\fs17 26\ul0\nos
upersub\cf7\f8\fs20 Martin Schwab, \ul0\nosupersub\cf8\f9\fs20 Escape from the
Image: Deleuze\u8217?s Image-Ontology\ul0\nosupersub\cf7\f8\fs20 , in The brain
is the screen: Deleuze \up0 \expndtw-3\charscalex100 and the philosophy of cinem
a, edited by Gregory Flaxman, University of Minnesota Press, 2000. \line \up0 \e
xpndtw-3\charscalex100 \ul0\super\cf6\f7\fs18\ul0\super\cf6\f7\fs17 27\ul0\nosup
ersub\cf7\f8\fs20 Chuck Palahniuk, \ul0\nosupersub\cf8\f9\fs20 Mon\u351?trii in
vizibili\ul0\nosupersub\cf7\f8\fs20 , ed. Polirom, Ia\u351?i, 2007, pg. 41. \par
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\f7\fs18\ul0\super\cf6\f7\fs17 28\ul0\nosupersub\cf7\f8\fs20 \ul0\nosupersub\cf
8\f9\fs20 Ibidem\ul0\nosupersub\cf7\f8\fs20 , pg. 65. \par\pard\ql \li1801\sb7\s
l-215\slmult0 \up0 \expndtw-2\charscalex100 \ul0\super\cf6\f7\fs18\ul0\super\cf6
\f7\fs17 29\ul0\nosupersub\cf7\f8\fs20 Gilles Lipovetsky, Jean Serroy, \ul0\nos
upersub\cf8\f9\fs20 Ecranul Global\ul0\nosupersub\cf7\f8\fs20 , ed. Polirom, Ia\
u351?i, 2008, pg. 22.
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l-276\slmult0 \par\pard\ql\li1801\sb108\sl-276\slmult0 \up0 \expndtw-2\charscale
x100 \ul0\nosupersub\cf3\f4\fs24 al hipervizualului\u8221?, n care \u8220?asist\u
259?m la na\u351?terea unui spirit cinematografic care \par\pard\ql \li1801\sb1\
sl-256\slmult0 \up0 \expndtw-2\charscalex100 nsufle\u355?e\u351?te lumea.\u8221?\

ul0\super\cf4\f5\fs22\ul0\super\cf4\f5\fs21 30\ul0\nosupersub\cf3\f4\fs24 Ne es
te oferit\u259? o viziune a lumii, ntr-un \u8220?mimesis\u8221? r\u259?sturnat, n
\par\pard\ql \li1801\ri1670\sb8\sl-276\slmult0 \up0 \expndtw-2\charscalex100 sen
sul pe care Oscar Wilde l viza atunci cnd scria: \u8220?Via\u355?a imit\u259? Arta
ntr-o m\u259?sur\u259? mult \up0 \expndtw-2\charscalex100 mai mare dect Arta imit
\u259? Natura.\u8221? Privit mult\u259? vreme ca un un spa\u355?iu al irealit\u2
59?\u355?ii \u351?i al \up0 \expndtw-2\charscalex100 iluziilor, cinematograful a
ajuns ast\u259?zi s\u259? f\u259?ureasc\u259? privirea, a\u351?tept\u259?rile \
u351?i viziunile \line \up0 \expndtw-2\charscalex100 omului modern, \u8220?a dev
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Potrivit filosofiei lui Jean Baudrillard, noi nu cunoa\u351?tem \u8220?Realul\u
8221?, ci doar manierele n \line \up0 \expndtw-4\charscalex100 care acesta apare/
se arat\u259? (\u8220?noi disp\u259?rem n spatele imaginilor noastre\u8221?). Nu
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patele imaginii, ci mai ales imaginea este cea care este nfrnt\u259? \up0 \expndtw
-2\charscalex100 de realitate.\ul0\super\cf4\f5\fs22\ul0\super\cf4\f5\fs21 33\ul
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i lor cu sens. Identitatea \line \up0 \expndtw-4\charscalex100 dintre semn/imagi
ne \u351?i realitate este ceea ce seduce realul, iar \u8220?o dat\u259? ce reali
tatea poate \line \up0 \expndtw-2\charscalex100 fi simulat\u259? perfect, semnif
ica\u355?ia ei ca atare este golit\u259?, desfiin\u355?at\u259? de excesul de \l
ine \up0 \expndtw-2\charscalex100 realitate.\u8221?\ul0\super\cf4\f5\fs22\ul0\su
per\cf4\f5\fs21 34\ul0\nosupersub\cf3\f4\fs24 Acesta este momentul n care intr\u
259?m n hiper-real (precum n \ul0\nosupersub\cf5\f6\fs24 Blade Runner\ul0\nosupers
ub\cf3\f4\fs24 , \line \up0 \expndtw-2\charscalex100 n care \u8220?replica\u8221?
este \u8220?mai uman\u259? dect umanul\u8221?). Cinematografia a devenit o alego
rie \line \up0 \expndtw-2\charscalex100 vizibil\u259? pentru ceva ce s-a petrecu
t cu ntregul univers uman (alienarea prin intermediul \line \up0 \expndtw-2\chars
calex100 contamin\u259?rii cu realul). F\u259?r\u259? oglinda care o face realit
ate a imaginii, realitatea nu este \line \up0 \expndtw-2\charscalex100 nimic. Il
uzia nu este opus\u259? realit\u259?\u355?ii, iluzia este o realitate mai subtil
\u259?, un joc la suprafa\u355?a \up0 \expndtw-3\charscalex100 realit\u259?\u355
?ii, o punere a realului n prim-plan. \par\pard\ql \li6032\sb0\sl-276\slmult0 \pa
r\pard\ql\li6032\sb0\sl-276\slmult0 \par\pard\ql\li6032\sb232\sl-276\slmult0 \up
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b264\sl-276\slmult0 \up0 \expndtw-2\charscalex100 \ul0\nosupersub\cf3\f4\fs24 A\
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inea \par\pard\ql \li1801\ri1756\sb4\sl-276\slmult0 \up0 \expndtw-2\charscalex10
0 constituie o tradi\u355?ie constant\u259? a gndirii occidentale. Aceast\u259? t
endin\u355?\u259? nu avea cum s\u259? nu \up0 \expndtw-2\charscalex100 se reflec
te \u351?i n filosofia filmului. Potrivit lui Hans Blumenberg ns\u259?, ntoarcerea n
\line \up0 \expndtw-2\charscalex100 pe\u351?ter\u259? constituie o nostalgie pe
rmanent\u259? n istoria existen\u355?ei umane. \u350?tiin\u355?a modern\u259? a \
up0 \expndtw-2\charscalex100 renun\u355?at la \u8220?esen\u355?\u259?\u8221? n fa
voarea a ceea ce se poate \u351?ti. Elibera\u355?i de iluzia unei pedagogii \up0
\expndtw-2\charscalex100 care s\u259? ne asigure/mijloceasc\u259? eliberarea de
finitiv\u259?, \u8220?se poate pune cap\u259?t discrimin\u259?rii \up0 \expndtw3\charscalex100 umbrelor, deoarece pe\u351?tera se dovede\u351?te a fi lumea vie
\u355?ii.\u8221?\ul0\super\cf4\f5\fs22\ul0\super\cf4\f5\fs21 35 \par\pard\ql \li
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83\sb19\sl-220\slmult0 \up0 \expndtw-4\charscalex100 \ul0\super\cf6\f7\fs18\ul0\
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dem\ul0\nosupersub\cf7\f8\fs20 , pg. 301. \line \up0 \expndtw-4\charscalex100 \u
l0\super\cf6\f7\fs18\ul0\super\cf6\f7\fs17 32\ul0\nosupersub\cf7\f8\fs20 \ul0\n
osupersub\cf8\f9\fs20 Ibidem\ul0\nosupersub\cf7\f8\fs20 , pg. 305. \par\pard\qj
\li1801\ri2078\sb20\sl-220\slmult0 \up0 \expndtw-3\charscalex100 \ul0\super\cf6\
f7\fs18\ul0\super\cf6\f7\fs17 33\ul0\nosupersub\cf7\f8\fs20 Gerry Coulter, \ul0
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Realism and History, in \up0 \expndtw-4\charscalex100 Film-Philosophy\ul0\nosup
ersub\cf7\f8\fs20 , vol 14, no 2 (2010). \par\pard\qj \li1801\ri1753\sb20\sl-220
\slmult0 \up0 \expndtw-3\charscalex100 \ul0\super\cf6\f7\fs18\ul0\super\cf6\f7\f
s17 34\ul0\nosupersub\cf7\f8\fs20 David B. Clarke, \ul0\nosupersub\cf8\f9\fs20
Dreams Rise in the Darkness: the White Magic of Cinema, in Film-Philosophy\ul0\n
osupersub\cf7\f8\fs20 , vol 14, \up0 \expndtw-4\charscalex100 no 2 (2010), pg. 2
3. \par\pard\qj \li1801\ri1869\sb20\sl-220\slmult0 \up0 \expndtw-3\charscalex100
\ul0\super\cf6\f7\fs18\ul0\super\cf6\f7\fs17 35\ul0\nosupersub\cf7\f8\fs20 Ulr
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20 , n Filosofia n secolul XX / coord: Anton Hugli, Paul Lubcke, vol. 1, \up0 \exp
ndtw-4\charscalex100 ed. All Educational, 2003, pg. 265.
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