‫جلسه اول‬

‫دوره زبان‬

Most often identified with the binary poetics of a sufficiently opposed

but necessarily linked formalism and realism, classical film theory has
argumentatively and analytically severed expression from perception
in its inquiries into the "true nature" or ontology of the cinema.

That is, cinematic "language" (here we might think of montage) and

cinematic being (and here of mise-en-scene) have been contrasted
categorically and set against each other as opposing poles of a single,
digital, two-valued system—each, in opposing the other, affirming it
by implication and dependent upon it by necessity.