The Folding Conversation of Cinema

Gulsen D. Akbas

doi:10.4396/20220603

Gulsen D. Akbas

DOI: https://doi.org/10.4396/20220603

Parole chiave: Language, Aesthetics, Fold, Christian Metz, Gilles Deleuze

Abstract

For decays, cinema is considered as the practice of signs and images within the trajectory of linguistic sign functioning. Even though deciphering cinematic art in such a framework can explain the relational dimensions of the images/shots, it can not shed light on the actual affect of the art of cinema. That is because aesthetic and analytic communication is two disparate forms of language and two different communication systems. Whereas the former relies on intuitive and disinterested relations and requires un-graspable communication, the latter requires cause and effect continuity while the meaning unfolds as the signs follow one after another, either with words or images. If we consider language as a simple sing functioning, the meaning will disclose as the conversation continues. A sentence or a word or an image would designate the following one. If we consider the aesthetic dimensions of cinema, such linguistic explanation on the language of cinema is not adequate to understand neither the image-being nor the affect communicated by the work. Therefore, any analytic approach borrowed from linguistics to define a work of cinematic art can not help us understand the real value and communication that is structured by the ontic principle of the cinematic art's image-being. In this paper, to un-conceal the language cinema speaks, we will look into the structure of the cinematographic-image and decipher the aesthetic communication conveyed by the image.

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