LTStraipsnis skirtas aptarti kinematografinio suvokimo ypatumus įtakingo intuityvistinės filosofijos pradininko Henri Bergsono ir jo idėjų skleidėjo postmodernizmo ideologo Gilles Deleuze’o koncepcijose. Jame pagrindinis dėmesys sutelkiamas į kinematografinio suvokimo ir mąstymo savitumo išryškinimą, bergsoniškosios laiko, judėjimo-vaizdinio estetikos sklaidą ir metamorfozes postmodernioje kultūroje. [Iš straipsnio, p. 261]Reikšminiai žodžiai: Henris Bergsonas (Henri Bergson); Deleuze; Deleuze'as; Judėjimas-vaizdinys; Kinematografija; Percepcija; Virtuali erdvė; Virtualybė; Bergson; Cinematography; Deleuze; Moving-images; Perception; Virtual reality.
ENThe article discusses the principles of the cinematographic perception whose beginning could be found in Bergson’s theory of images, analyzed in his famous Mutiere et memoire and after century actualized in Deleuzian works on perception (Cinema 1 L’image-mouvement and Cinema 2 L’image-temps). According to the postmodern thinker, the bergsonian image, separated from human conciousness and tied to matter and movement, becomes one of the main features of cinematographic apprehension. In this theory cinematography is viewed as a complex system of moving-images, which requires completely new and alternative to natural (phenomenological) type of perception and represents a virtual reality which is not a simple copy of the actual one but releases a pure becoming element. [From the publication]