(...) an abstract conception of cinema opposes a photographic conception, marked by technology; because of this I do not like it when photography is talked about as a precursor or pioneer of cinema; photography is related to cinema only mechanically; the poetic predecessor of the cinema, its thinking pioneer, is literature much more than photography; there is nothing intrinsically photographic in the cinema, cinema is as abstract as literature, and so opaque; nor is photography concrete; nothing human is concrete, or transparent, every human is predicative, it shows by hiding, includes by excluding , understands by ignoring, thinks by dispensing (...)
Argentine philosopher
Cine: 100 años de Filosofía. Gedisa, Barcelona, 2015 (2nd edition), p. 426 <small></small>
(...) Paradoxically, the silent cinema inaugurates the act of saying, and the audio cinema the act of silencing. Saying does not need words, but silencing does. The lack of sound was not a "limitation" for silent movies, but rather the lack of silence. And this does not seem to be a strictly Wittgensteinian type of limit.
Cine: 100 años de Filosofía. Gedisa, Barcelona, 2015 (2nd edition), p. 366 <small></small>
A "quiet" movie in which "nothing happens", where people are shown looking through the windows, walking the streets, living in completely banal situations, or simply looking at each other without saying anything, does not satisfy the spectator eager for novelty ( ...) this type of spectator usually says, after watching an ontological film, that he did not like it because in it "nothing happens": precisely the kind of attitude that Heidegger intends to provoke in his writings, making the absence of pressing entities put us in touch with the being.
Cine: 100 años de Filosofía. Gedisa, Barcelona, 2015 (2nd edition), p. 294 <small></small>
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Pessimism seems to have an existential density that optimism - even non-naive optimism - does not have. In Bernardo Bertolucci's famous Last Tango in Paris (1972), the unknown (Marlon Brando) whose wife has just committed suicide, wanders around Paris and casually meets Jeanne (Maria Schneider), with whom he has a rich and violent physical and existential relationship, in an unfurnished apartment, where conventions and the name of things or people do not matter (...) But the moment he can get out of the pit and get back into life, dress well and resume the exercise of usual conventions, knowing her name, marrying and being happy, it becomes a conventional caricature and his relationship with Jeanne abruptly ends (...).
Cine: 100 años de Filosofía. Gedisa, Barcelona, 2015, (2nd edition), p. 171 <small></small>
Blow-up [Antonioni] shows what Descartes says: our senses deceive us. However, there is no cogito in the images of this film that helps to overcome the unbearable state of doubt provoked by the ambiguity of the facts. Thomas [the young photographer of this film] cannot protect himself in any cozy subjectivity; on the contrary, it is his subjectivity that is stolen by the mysterious force of things.
Cine: 100 años de Filosofía. Gedisa, Barcelona, 2015, (2nd edition), p. 54 <small></small>
Cine: 100 años de Filosofía. Gedisa, Barcelona, 2015 (2nd edition), p. 47 <small></small>
By exerting this effect of shock, visual violence, assault on sensibility, aggressiveness in the activity of showing, it is possible for the viewer to acquire acute awareness of a moral or epistemological problem as may not happen to him by reading a treatise on the subject. This "sensitization of concepts" may even question some of the traditional solutions of philosophical questions offered by the concept written throughout the history of philosophy (...)
Cine: 100 años de Filosofía. Gedisa, Barcelona, 2015(2nd edition), p. 47 <small></small>
By exerting this effect of shock, visual violence, assault on sensibility, aggressiveness in the show, it is possible for the viewer to acquire acute awareness of a moral or epistemological problem as may not happen to him by reading a treatise on the subject. This "sensitization of concepts" may even question some of the traditional solutions of philosophical questions offered by the concept written throughout the history of philosophy (...)