The Immanent Image
Roberto De Gaetano

This essay examines the contrast between forms and forces, meaning an opposition which also identifies two different cultural traditions, two aesthetics, two writing methods, two orders of speech. Since the early years, cinema has moved along the problematic boundaries of the coexistence between identity and difference. It has moved between two aspects: shaping the world – which is what we usually mean by the word ‘representation’ – and having the possibility to capture that which exceeds, that which crosses the part of the world which is not closed. Cinema has declared its autonomy, being free from any empiric and representative determination. From this point of view, the essential dichotomy at the base of cinema is not between Lumière and Méliès, meaning between documentary and fiction, but rather between Ejzenštejn and Epstein. The two real exponents of a theory of cinema which sees the issue of the relationship between form and force, quality and intensity, identity and becoming as the most appropriate place to define itself.