From the "Cinematic Suture" to Experience in Film Theory: Historical and Philosophical Aspect

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This article is devoted to the historical and philosophical foundations on which the "cinematic suture" as a concept from psychoanalysis became an object of the analysis of sensuality in the 20th century. The relevance of the research is related to the need to pose the problem of a gradual movement from cinema as an object of perception to the analysis of the spectator`s role in the film philosophy of the last century. The connection of the subject with the discourse of the film through the "suture" is considered according to the scenario of J. Lacan, J.-A. Miller and J.-P. Oudart. The impact, as well as the differences between the "classical" and the modern version of "the system of suture" are called. The thesis is put forward that the expansion of the context of such concepts as the "cinematic suture" may lead to the loss of its theoretical framework in the history of psychoanalysis and structuralism in film theory. Analytical and comparative methods are used in this article to find the prerequisites that in the 1950s and 1990s shifted the discussion of realism from film criticism to the level of theory and philosophical problem. The scientific novelty consists of substantiating the continuity of the "suture" concept with realism and the impression of reality in contemporary film theories. The illustrative field of the reality effect, the impression of reality and the cinematic "suture" is expanded and complemented by audiovisual features of different genres using the example of the analysis of the satirical comedy by Elem Klimov "Welcome, or No Trespassing" (1964). As a result, it is concluded that the anticipation of the viewer's reaction and his spatial identity in the film serve not only as a criterion for evaluating the cinematic experience as a sensory one, but also as a sign of the difference between several periods of comprehension and criticism of "the system of suture" from each other. It is proved that the turn of the XX-XXI centuries in the theory and philosophy of cinema was marked by criticism of the idea of the spectator as a "reader" of movies, which at an early stage of the development of "the system of suture" was no less universal and prescriptive than realism.

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