فیلم

Undoubtedly, paying attention to philosophical thoughts has a great effect on shaping film theory and the formation of artistic and cinematic works . The analysis of the film from the perspective of contemporary theories is derived from the foundations of nominalism and conceptualism, which cause many ontological and epistemological problems according to the philosophy that shaped it . The analysis of film representation from the perspective of phenomenology, in the analysis of different dimensions of the film such as image, sound, narrative, content, reception and perception of the audience, brings important and different results . By briefly examining the nature of artistic representation in the theory of phenomenology, while paying attention to the important components of this theory, this article tries to value the different and influential attitude of this thought in film representation, unlike traditional theories that focus on the content, structure and process of filmmaking. In this regard, with the analytical-interpretive method, how reality and meaning appear in the world of the film from this point of view and increase the audience's experience in a deep and comprehensive analysis of the various elements of the film, such as visual language and sound, time and place, space and phenomenal place . Light and color are treated . As a result, it can be stated that this phenomenological approach not only helps to gain a deeper understanding of the story and characters, but also strengthens the audience's connection with the context and story world and increases the cinematic experience for the audience . The theory of film phenomenology emphasizes that our consciousness not only communicates with scenes through our actions, but also plays a role in their construction . This role is subject to a specific logic that is not yet fully understood.

 The relationship between reality and cinema is an important factor in theorizing about cinema. According to some theorists, cinematic reality receives its validity from the structure of the mind. According to some others, it is the external reality that must be acknowledged. It can be said that the relationship between cinema and reality is considered as a relationship in which cinema has an important function: to determine the position of cinematic signifier, as cinematic mechanisms that So, they can gain their signified in the outside world, or in the mind. In this research, an attempt was made to explain the relationship between film and reality in cinematic theories and its relationship with representation, to discuss the distinction of cinematic works, and to provide a specific classification based on representation based on Heidegger's thought. How a cinematic work can be considered based on the representation and presence of the earth in the work of art. In the continuation of the research, some cinematographic works were analyzed according to the representation in Heidegger's view in three distinct groups: Representative, Beyond- Representative, and Un-Representative. Among these works, the film About Endlessness by Roy Anderson, as the Un-Representative work, reveals the presence of the earth in the work of art.

The essence of cinema lies in its moving pictures, with the visual aspect holding particular significance. However, the human mind plays a distinct role in both the creation and perception of films. This is why some cinema theorists refer to it as ‘the art of the mind.’ By evoking the viewer's feelings and emotions, a film engages with their mind. Avicenna's perspective highlights that the perception of partial meanings triggers emotional responses in the audience, a function attributed to the estimative faculty within the human soul. In Avicenna's philosophical framework, the soul comprises various faculties, each contributing to the perception of films or the creation of cinematic scenes according to their specific functions. One such influential faculty is the imagination. Nevertheless, Avicenna's psychological insights underscore the vital role of the Estimative Faculty in the perception of films. The estimative faculty, as one of the soul's most crucial faculties, plays a significant role in both the creation and comprehension of films. Its functions include perceiving partial meanings and cognitive errors. As a result, the estimative faculty often prevails over other mental faculties when an audience engages with a film. This article investigates the role of the Estimative Faculty in perceiving partial meanings, cognitive errors, imitation of inner emotions, and rendering partial judgments within the context of cinema. To illustrate the impact of this faculty, we offer a focused analysis of the horror genre and the school of expressionism in this regard.

Film affects and changes watchers` ethical qualities and behaviors in various aspects, one of the most notable aspect lies in the fact that it includes multitude of content and meaning. In the paper, with a distinction made between structural meaning and content meaning, it has been shown that films, particularly narrative ones, because of their being including such elements as pictures and images convey many cases and layers of semantical meanings; then on the basis of presented meanings, ethical effects and consequences on the watchers are explained. As is explained, such happenings as change in attitude toward aesthetics and low of thought may be taken as effects of films.