Nietzsche and Cinema: Cinematography as an Expression of Unity between Apollonian and Dionysian Impulses

The following article analyzes the process of filmmaking through the framework of Friedrich Nietzsche’s Apollonian-Dionysian dichotomy. Specifically, it centers on cinema as an example of the interplay of both Apollonian and Dionysian impulses. The first half of the article provides a definition of...

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Bibliographic Details
Published inSAECULUM Vol. 56; no. 2; pp. 98 - 108
Main Author Radu, Cristian
Format Journal Article
LanguageEnglish
Published LUCIAN BLAGA University Press of Sibiu 15.12.2023
Editura Universitatii LUCIAN BLAGA din Sibiu
Sciendo
Subjects
Aesthetics
apollonian
cinema
Dionysian
Film / Cinema / Cinematography
Fine Arts / Performing Arts
movie
Nietzsche
Philosophy
Visual Arts
Dionysian
cinema
Nietzsche
apollonian
movie
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Summary:The following article analyzes the process of filmmaking through the framework of Friedrich Nietzsche’s Apollonian-Dionysian dichotomy. Specifically, it centers on cinema as an example of the interplay of both Apollonian and Dionysian impulses. The first half of the article provides a definition of Nietzsche’s dichotomy and two descriptions of Apollonian-Dionysian unities as cultural tendencies and artistic elements. The second half of the article examines how key aspects of the movie production process embody either Apollonian or Dionysian elements. Additionally, a case study of the film Pan’s Labyrinth is employed to exemplify these concepts in a movie experience.
ISSN:1221-2245
2601-1182
2601-1182
DOI:10.2478/saec-2023-0022