The portrait and cinematographic image in the development course of the concept subject: phenomenology and bergsonism

Abstract

 Two separate ways of conceptualizing the matter of subject  is what built this text: on the one hand, Bachelard-Sloterdijk’s phenomenology, and on the other, the bergsonism in which Deleuze incurs while analyzing cinema. Based on this, the common ground of art will settle the debate, which ultimately has implications regarding spatial and temporal intuitions. From one angle it could be appreciated the fundamental opening of the subject through spatial inners, but the perspective regarding the flux of duration closes the encounter finalizing with the contraposition of both intuitions in the depths of human interiority

 Key words

Theory of the subject, art, portrait, cinema, space, duration.