Explaining of Film Perception Using Avicenna’s Perception Theory

Film perception is a more complex issue than other arts due to its unique characteristics and multifaceted nature. Among film theories, a movement called “cognitive theory” deals with such problems. However, despite all the capacities of Islamic philosophy in cognitive issues, no research has been done in the context of Islamic philosophy. But can this be pursued in the context of Islamic philosophy? The main question in this research is how does the viewer perceives the film? In this research, I use the method of qualitative content analysis and library collection. Based on the common interpretation of perception in Ibn Sina’s texts, perception is form acquisition. The film is a hand-made art, and its production is the photographic way. Display it on a surface or screen. Provides animated images, or at least it is possible. This research is the starting point for developing the philosophy of film and cognitive theory in Islamic philosophy. According to Ibn Sina’s view, film perception begins with the level of sensory perception by obtaining visual and auditory forms and continues to the level of intellectual perception appropriate to the form and content of each film. In the context of Ibn Sina’s philosophy, color exists in the real world. Instead, the viewer sees a combination of colored light and curtains that emit their light from the device’s light source. This study shows film perception’s challenging and critical context for designing and responding to film theory/philosophy issues.