ABSTRACT
A definite historical and cultural theory concerning the very possibility of filming would certainly include these and many other cinematographic considerations. This chapter explores filming within a zone of thinking that leads to a nonlogocentric, yet critically imagistic reading of the postmodern interplay between Denken and Einbildungskraft. It examines Heidegger's reading of world as image. He claims that the modern age presents itself as a productive interweaving of world and man. Both events are described in their transformation into an "imagistic" realm of the Open in which man appears as subjectum imaginum and world as production and reproduction of images. Filming operates between the scenery, actors, photographers, celluloid, cameras, theatres, televisions, VCRs, and the Being that establishes their identity. Filming is that ontico-ontological activity and space that has no identity of its own. Filming is one of the ways that postmodernism performs the tracing, framing, marking off—textualizing—of the modernist age.
