Phenomenological Function of Formal Elements of the Cinema (With Emphasis on Husserl’s Phenomenology)

Document Type : Research Article


1 Ph.D. Student of Art Philosophy, Islamic Azad University, Science and Research Branch, Tehran, Iran.

2 Faculty Member of Arts and Architecture, Faculty of Art, Tarbiat Modares University, Tehran, Iran.

3 Faculty Member of Law, Theology and Political Sciences, Azad University, Science and Research Unit, Tehran, Iran.


Problem statement: Among the components of the phenomenological approach, the epochē is the element that carries the methodological aspect of this approach more than other components. On the other hand, a movie has full of form elements that can affect the audience’s perception, whether or not they are used or how each of these elements is used. This research tries to deal with the phenomenological encounter with the object through the medium of cinema and a movie.
Research objective: The research purpose is to examine the possibility of the phenomenological reduction of external objects and aesthetic objects through cinema and a movie.
Research method: The article with an analytical method among the components of phenomenology has highlighted its only methodological element, epochē. Then, with a descriptive-analytical method, it measures the ratio of all the formal elements in a movie with the epochē.
Conclusion: The article shows that there is a possibility of phenomenological reduction of the external objects through a movie and this possibility is realized in the first way in the aesthetic objects.
The article introduces “Epochēe” as the only tool of phenomenological reduction. It discusses the possibility of phenomenology through the movie, concludes that such a thing is available through the formal elements of the movie, and then looks into this possibility. First, it highlights the formal structural elements and explains the appropriateness of the phenomenological approach in selecting each structural element and using them. Next, it points to the non-structural formal elements separately and examines how to implement these formal elements to epochē objects as much as possible. The article shows that although it is possible to epochē an external object through a movie, this epochē is considered a second-hand method in epistemology. In contrast, in the field of aesthetics and its related objects, they are regarded as a first-hand encounter.


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