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 .