Lived Images/Imagined Existences: A Phenomenology of Image Creation in the Works of Michel Tournier and Photography

Intermediality and Film Consciousness in Gao Xingjian’s La Silhouette sinon l’ombre

“…The act of looking at an object (of art) relies, initially, on the eyes and consciousness of a human subject, but subjectivity is then lost as the person's consciousness 'projects itself into the object of interest, ultimately brought back to the subject as a newly objectified act'. 29 La Silhouette may be considered as an example of phenomenological cinema, because it encourages a mode of vision involving this movement between the subject and the object which is dependent on the viewer's awareness of the image's sensorial and affective qualities. Not only that, Gao's film engages with the gaze of the Other, both the director's and the viewer's, recalling Merleau-Ponty's idea of the intersubjective field of perception and action which he described as 'le mélange de la conscience avec le monde, son engagement dans un corps, sa coexistence avec les autres'.…”