The development and process have the same importance as the work of art in his totality. Through art the man takes the reality that is in the subjective experience, while the scientist knows the world through the replacement of the old knowledge with new ones in his search for a particular and objective truth.ĩTruth concept had changed its meaning along the centuries, but Husserl’s approaches refer that the truth concept can only be reinforced through the personal experience.ġ0Nothing can be as significant as the word “search” applied to a work of art. And the difference between art and science as ways of knowledge are the scientific and aesthetic approaches. But man, not just knows, he also creates. Reality cannot be separated from an image, so it is the direct presence of time.ĨArt, as science, is a way of assimilating the world, an instrument to know it in this life adventure, searching for an absolute truth. Truth in cinema captures the past and the future coexisting in a present image. The truth is not discovered for the first time, it is rediscovered once and again. Discovery means to know or see something for the first time, but eternity has always being there. If time appears in the shape of a fact, the fact is given as a simpler shape direct observation is the main and basic element in cinema. “Poetic cinema” means that there is a cinema that gets moved within its own images through what is concrete and factual, as real life experience itself, reaffirming its own structural totality.ħIt has no rules, allegories or symbols it just shows the world reality into time flux. Involving a person and relating him to the entire world is the true meaning of the cinema. The spectator turns into a contemplator who leaves the world “presence” and everything that surrounds and determines it aside.ĦWhen Ludwig Wittgenstein (1889-1951) made one of his most important asseverations in Tractatus logico-philosophicus : «what can be said at all can be said clearly and whereof one cannot speak thereof one must be silent» 2 he showed us that most of the time the power of the word is insufficient. Lending the basic ideas of Edmund Husserl (1859-1938) and the phenomenological attitude, “Poetic cinema” shows that we are in front of an “inner subjective” cinema. The work of the creator is placed, very often, beyond the work creation itself, causing uncertainty over the effects and the eventual consequences of this production.ĤLooking up for the understanding of this way of art, leaving the theoretical foundations aside, there is an urgency to go far beyond the cinematographic work to make an approach through the effects in the personal experience.
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The “Poetic cinema” is not looking for any justification as a criticism generator it does not bring a conceptual schema where each data refers to a forceful interpretation.ģIf we trace the origins of what “poetic” means, there is no doubt that Aristotle comes to scenario with Ars Poetica (335 b.C.), but Paul Valéry is the one who makes a reflection to revaluate “poetic” meaning, not just understanding that to compile the formal fixed rules was an intended determinant way of doing fine art, but thinking it as the “doing” that involves the production of the work placed within its economic universe in relation with an author, his work and the spectator. But the meaning’s search for an objective lecture is not really the purpose of it. It’s a fact that the sense of the poetic description and explanations are inserted in it. It appears as a revelation, as a passionate desire that irrupts and violent the world laws.ĢThe “Poetic cinema” resides far away from theories or definition beyond meanings or interpretations it is found in a space without a place. 1Cinema, as an artistic discovery emerges as a new and genuine world image.
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