Abstract

The aim of the study by Arnaud Bouaniche, “Bergson on the cinematographical Schematism of Intelligence”, is to understand the role of cinema in the fourth chapter of Bergson’s Creative Evolution in the light of a precise comparison with the Kantian doctrine of schematism of pure concepts of understanding. A thesis then becomes clear : for Bergson, cinema is not, as is often believed, only a machine for producing illusion — the illusion of movement — but this “hidden art” — now made visible — which controls our spontaneous knowledge of reality.