A PHENOMENOLOGICAL VISION OF CINEMATOGRAPHER's ONTOLOGY

This paper tries to find connections between some kind of filmmakers and the ontology of phenomenology. The birth of cinema brought a new dimension to art: the mechanic capture of physical reality, as well as a new language. These two elements brought a dialectic that is similar to an ancestral metaphysical dualism: the preponderance of, either the objective either the subjective. Through the study of some realistic author as Kracauer or Bazin we will try to qualify their vision with the phenomenological perspective of some authors (philosophers as well as filmmakers and film theorists) as Merleau-Ponty, Robert Bresson and Nathaniel Dorsky and others. They consider, assuming the inner essence of cinema as an intimate contact with physical reality, that the true expresion of this requires a better comprehension of cinematographic language and it's formal aspect. Thereby, they understand this language not as abstracts tools, but as a writing that is born from the materiality of it's medium.