This chapter situates Merleau-Ponty’s phenomenology of film in its historical context through analysing its key insights—the reciprocal and embodied nature of film spectatorship—in the light of late-nineteenth and early-twentieth century philosophy and psychology, charting Merleau-Ponty’s indebtedness to thinkers as diverse as Henri Bergson, Max Wertheimer, Hugo Münsterberg, Rudolf Arnheim, Victor Freeburg, Sergei Eisenstein, and Siegfried Kracauer. The historical Bergson is differentiated from the Deleuzian Bergson we ordinarily encounter in film studies, and Merleau-Ponty’s fondness for gestalt models of perception is outlined with reference to the competing ‘persistence of vision’ theory of film viewing. The chapter ends with a consideration of some of the ways in which James Joyce could have encountered early phenomenology, through the work of the aforementioned philosophers and psychologists and the ideas of Gabriel Marcel, Franz Brentano, William James, and Edmund Husserl.
Revisión de la clave de la psicología de Franz Brentano: el intelecto agente // Review of the key of Franz Brentano’s psychology: the agent intellect
