PHILIPPE GRANDRIEUX’S TRANSVERSAL CINEMA

Abstract

The article deals with the examination of philosophical reflections as to the interrelation of a film and philosophy. The purpose of article is to research the anthropological aspects of various directions in philosophy of cinema forming from the beginning of the XXI century. The presented research will also help to designate the feature of the articulation of “human body/visual image” in the modern philosophical and culturology conceptions. The examination of philosophy of cinema of the end of the beginning of the XXI century allows allocating of several strategies for understanding the subject “a body and image”. These strategies of philosophical anthropology of cinema do not present integrally all possible directions of conceptualization of the interrelation of an affect and image in Grandrieux’s films. Yet, the given schemes have drawn the basic configurations of dispositives, which distribute the economy of the human/animal, natural/artificial, inherent/cultural, human/technical. The specified strategies are evident not only in various philosophical conceptions, but also in theoretical research of cinema, which deal with the studies of the subject “a transversal and film”. In a number of modern philosophical conceptions, the transversal concept is defined even more broadly and is corresponded to the concept of actual. The transversal in Grandrieux’s films is an extension of the visual turn and is one of the most important tendencies of hot cognition. Therefore, in the philosophy of the beginning of the XXI century the interpretation of Grandrieux’s films is used in three nominal deuce: 1) image and affect; 2) dispositive and transversal; 3) vision and touch. These strategies of reconstruction of Grandrieux’s films do not present integrally all possible.