Perceptual Blindness and Composition in the Cinematic Image

Abstract

The research addresses an important issue that has recently been researched, which stems from the idea of the French philosopher (Deleuze) that the cinematic mind is considered a specific formulation for the concept of cinematic being. In other words, will understand the intention and creativity of the cinematic image if know that cinema creates everything based on its own thinking. The perception of cinema comes through cinema itself and not through pre-existing theories and aesthetics. Cinema formulates cinematic concepts as thinking, consciousness, and perception. The viewer is required to receive assistance from the film to enter into a productive, dialectical relationship with its transformations through the three-pronged dialectical relationship between form, language, and cinematic narrative. The importance and necessity of this research can be attributed to its novelty within Arab and Iraqi scientific research. Therefore, it is needed by all those working in cinema, including researchers, critics, and filmmakers. The research community has always been that all films are suitable for exploring this topic. The research aims to uncover the relationship between perceptual blindness and the formation of the cinematic image. The research is limited by its subject matter, which is the film industry in any location, and by its timeframe, which is the year 2001 It is the year the film Emily was produced. Naturally, the research begins with an abstract and a methodological framework within a theoretical context. This framework comprises three sections: the first, cinematic awareness; the second, film perspective and perceptual perspective; and the third, cinematic perception and its underlying structures. Previous studies are also included, and the third section details the research procedures and the analysis of the film sample. The research concludes with results, conclusions, and a list of references.