The author analyses the matter of the surface: the surface of cinema and of the screen, a space that seems to be flat but at the same time hides and reveals a strange depth, a folded volume. Looking at the first films of the brothers Lumiere and other examples of early cinema, and using Tom Gunning's metaphor of 'absorption' and 'swallowing', the author attempts to describe the strange moment of collision between the spectator and the energy of film, the space of cinema. The gesture of this contact is like a swallowing. What awaits the spectator at the projected point of collision is an imaginary depth that opens from the other side of the screen. He explores the question of the cinema as bilateral reality, where the surface is the border between inside and outside. In his analysis he refers to the concepts and theories of Maurice Merleau-Ponty, Gilles Deleuze, and Sigmund Freud. What we get is a fascinating psychology (or maybe rather psychoanalysis) of cinema, of its movement. The early cinema being the forgotten, but important trace.
Financed by the National Centre for Research and Development under grant No. SP/I/1/77065/10 by the strategic scientific research and experimental development program:
SYNAT - “Interdisciplinary System for Interactive Scientific and Scientific-Technical Information”.