ABSTRACT
This chapter explores the writings of Henri Bergson and, in particular, the section in his 1911 work Creative Evolution headed ‘The cinematographic mechanism of thought and the mechanistic illusion’. It opens with a brief consideration of what ‘feeling film’ might mean. As it has unfolded it is argued that feeling is polyvalent, working as it does in agency with both the unconscious and consciousness. Both nocturnal and diurnal, feeling is consciousness awareness of the unconscious in the present moment. Feeling film requires us to establish a personal relationship with a film. It means to suspend the scientific logic of everyday life and instead to enter into an intuitive relationship with images and sounds that is not predicated on their representational qualities and meaning.
