Reconsidering Neorealism: Bergsonism and Phenomenology

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  • ネオレアリズモ再考　ベルクソニスムと現象学
  • ネオレアリズモ サイコウ ベルクソニスム ト ゲンショウガク

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Is it possible that the theories of André Bazin and of Gilles Deleuze is connected in neorealist cinema? With no hesitation Bazin admitted that “neorealism is phenomenology,'' but he also asserted that Umberto D. (1952) is a film of “duration”. In Bazin's theory on neorealism, phenomenology and Bergson's philosophy are not opposed, but rather resonate as two poles. On the other hand, relying on Bergson's philosophy and Peirce's semiotics, Deleuze distinguished movement images from temporal images in his attempt to classify images, and considered neorealism to be a representative of temporal images. 　In the process of analyzing perceptual images which movement image includes, he contrasted Bergson's philosophy with phenomenology, and rejected the latter method because it gives certain privileges to “natural perception”. From the point of iconographic study in Neorealism: Italian Postwar and Cinema (2022), Atsushi Okada claimed that Bazin and Deleuze share the idea of medium-specificity by American art critic Clement Greenberg. Examine how Their different positions of philosophies can be linked.

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