Please use this identifier to cite or link to this item:https://hdl.handle.net/20.500.12259/31727
Type of publication: Straipsnis / Article
Author(s): Venckus, Remigijus
Title: Veidrodžio atspindžio teoriniai aspektai kino imersijos koncepcijoje
Other Title: The theoretical issues on the mirror reflection at the concept of immersion
Is part of: Meno istorija ir kritika, 2012, nr. 8, p. 56-65
Date: 2012
Keywords: Imersija;Immersion;Veidrodžio atspindžio koncepcija;Stambiaplanis veido atvaizdas;Ekranas;Tikrovės atspindys;Reflection of mirror;Close up face frame;Screen;Reflection of reality
Abstract: The author of this article makes the research about the immersion of the cinema. The immersion must be understand as a feelings of the film spectator. The specific feelings belongs with the regressive self-creation. In this article the immersion working as a psychological involvement in the images on the screen. The basics of this article is the fundamental ideas of the Jacques Lacan.The thoughts of the philosopher inspire the conception of mirror reflection. Article draws from the J. Lacan theories to the critical comments from the different theorists. Also introduce to the theories which draws no away from the mirror reflection or working like earlier basic in the immersion discourse (Andre Bazin, Lev Kuleshova, Sergei Eisenstein, Rudolf Arnheim). The immersion in this article is a similar to the seance of the psychoanalysis (Ann Elizabeth Kaplan, Mike King). The mirror reflection is created from the understanding of screen as a window and as a frame (Andrew Dudley, Jean Mitra), from the close-ups theories which belongs to affect (Bela Balazs, Gilles Deleuze, Jacques Aumont), and from the possibilities of the viewer to make self identification with another place and another like unrecognized person shown on the screen (Kaja Silverman, Daniel Dayan, Bruno Bettelheim), etc.
Internet: https://eltalpykla.vdu.lt/1/31727
https://hdl.handle.net/20.500.12259/31727
Appears in Collections:Meno istorija ir kritika / Art History & Criticism 2012, nr. 8

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