The present contribution develops some key issues of the work of Luigi Stefanini, starting from his work on cinema dating back to 1954. The relationships between philosophical esthetics and film criticism have not been particularly fruitful in Italy (or elsewhere). However it can be surmised, following Formaggio 1961, that “cinema is a testbed for contemporary esthetics, insofar as the latter tries to provide a universal theorization of art”.

The present essay seeks to analyze the reflections on cinematographic art proposed by Jean-Luc Nancy, referring in particular to his L’Évidence du film. Abbas Kiarostami (2001) as well as to other studies where the author reconsiders the concepts of image and gaze. The specifity of films lies in “evidence”, which is a way to affirm the finite character of existence-presence. Cinema addresses the world without any form of realism. It is reality itself to open out to the image. What results (...) is a possible gaze which is no longer on representation and nor can it be a representative gaze. This gaze does not look at any object; the very act of seeing can be seen through it. (shrink)

Il presente numero di “Rivista di estetica” raccoglie diversi contributi che intendono riflettere oggi sui limiti e sulle possibilità di un approccio estetico-filosofico alle nuove istanze (sia tecniche che narrative) che ci giungono da questo oggetto sempre da identificare chiamato film. Come si sa, il cinema, fin dalle sue origini, ha generato un complesso insieme di discorsi intorno a sé. Il cinema è stato cioè continuamente trattato, discusso, analizzato, fatto oggetto di studio, dalla st...

The contribution examines the notion of occasionalismo sensista, or also known by the expression of formalismo sensista, that the Italian philosopher Adelchi Baratono was proposing in the ’30s and ’40s of the twentieth century. Best known for his dense volume, Il mondo sensibile. Introduzione all’estetica, Baratono is among the first thinkers of his time in Italy to start a confrontation with Kantian criticism in aesthetic context, looking groundwork for an alternative route to the one proposed by the Italian Neo-idealism. In (...) fact, against the absolutization of the subject, which Baratono ascribes, in particular, to the thought of Giovanni Gentile, he affirms the profound otherness of subject and object in front of which philosophy is bound to be wrecked. In this perspective, the “sensible world” for Baratono is in itself, regardless of the knowing subject, because everything is resolved in the “world within and around us”. In this perspective, Baratono affirms that the feeling is all this, that is something without which are neither perception nor the concept and even the idea. The feeling, therefore, far from being considered the first stage of knowledge, is the real existence. (shrink)

The present essay seeks to analyze the reflections on cinematographic art proposed by Jean-Luc Nancy, referring in particular to his L’Évidence du film. Abbas Kiarostami (2001) as well as to other studies where the author reconsiders the concepts of image and gaze. The specifity of films lies in “evidence”, which is a way to affirm the finite character of existence-presence. Cinema addresses the world without any form of realism. It is reality itself to open out to the image. What results (...) is a possible gaze which is no longer on representation and nor can it be a representative gaze. This gaze does not look at any object; the very act of seeing can be seen through it. (shrink)