Abstract
In the following text, the problem with the relationship between the cinematic’s art and philosophy is presented. The analysis of several notions through which the innovation in thinking and writing about cinema is carried out, such as “image movement” that allows the recognition of the essence of the cinema as the relationship of various forces and escalations of its creative power. The breakthrough that took place in the cinema after the Second World War is described. The above is associated with the transition from the notion of “image movement” to the concept of “image-time”. In correlation with the concept of time (le temps est hors de ses gonds), the question of montage is discussed. Then the concepts of “pure optical situation” and “pedagogy of perception”, as well the emergence of a new type of image called “image-crystal”, are introduced. In this context, the change in our way of understanding and feeling the world is presented, and an attempt is made to evaluate the condition of the modern society.
