Abstract

If it is true, as Bergson claimed, that the universe is the sum of images, and if it is correct, as Deleuze said, that this hypothesis bears direct consequences for our understanding of the cinematographic art, then the analysis of cinematographic images and, especially, of the cinematographic images of the body can provide not only interesting aesthetic comments about specific directors and films, but also a philosophical understanding of the diverse modes of the sensible incarnation of human bodies. Interestingly enough, the more we believe in the truth of aesthetic images, the more we believe in the ontological reality of the body, that is, the more does ontological reality become, essentially, “imaginal.”