The Phenomenological Critique of Stefan Sharff's Formalism in Cult Films Cinesthetic
One of the most significant cinematic theories in the field of cinematic elements and aesthetics which has earned a huge admiration and attention, by introducing concepts like cinematic grammar and syntax, is Stefan Scharff's Cinesthetics.It seems that this Theory is not comprehensive in the case of all types and genres of motion picture industry,because of the extreme application of some precise mathematic-like methods which neglect the excesses of a movie as a Whole(Gestalt).The main question is why some kind of movies that did not matcu with Scharff's criteria are popular among even cinema's elite audiences? The Authors have tried in this paper by applying a semiological/etymological analysis of "aesthetic" term to highlight the point that even though they are agreed with the supporters of Sharff's methodology in the case of the impact and efficiency of Sharff's lessons on cinematic elites, the inadequacy of this formalistic/constructivist methodology in film analysis and Sharff'sCinesthetics definition of a large amount of motion pictures or cinematic products is not negligible. The authors infer to the sensual perception and lived experience as the basis of aesthetic. Therefore in regards to realistic"spectator-centric" opinions, the paper introduce cinematic ideas of cinematic phenomenologists like Alan Casebier and Vivien Sobchack as an alternative of Sharff's or any pure constructivist view in the case of Cult movies studies, movies which have biased fans or followers -and created on the basis of personal experiences or subcultural ideologies of cult followers and is not related to harmony ,classic beauty and forms or structures .
- حق عضویت دریافتی صرف حمایت از نشریات عضو و نگهداری، تکمیل و توسعه مگیران میشود.
- پرداخت حق اشتراک و دانلود مقالات اجازه بازنشر آن در سایر رسانههای چاپی و دیجیتال را به کاربر نمیدهد.