Bergson, Henri


Film places the physical experience of the body (in motion) at the centre of perception.

– Emma Widdis. Visions of a New Land: Soviet Film From the Revolution to the Second World War. New Haven: Yale University Press, 2003: 71.

Instead of attaching ourselves to the inner becoming of things, we place ourselves outside them in order to recompose their becoming artificially. We take snapshots, as it were, of the passing reality, and, as these are characteristic of the reality, we have only to string them on a becoming abstract, uniform and invisible, situated at the back of the apparatus of knowledge, in order to imitate what there is that is characteristic in this becoming itself. Perception, intellection, language so proceed in general. Whether we would think becoming, or express it, or even perceive it, we hardly do anything else than set going a kind of cinematograph inside us. We may therefore sum up what we have been saying in the conclusion that the mechanism of our ordinary knowledge is of a cinematographic kind.

– Henri Bergson, Creative Evolution [1907] (Dover: Mineola, N.Y., 1998),  p. 306.