| Abstract [eng] |
Bernard Stiegler argues that technics is a pharmakon – a remedy and a poison. In this way, he debates with the criticism of culture industries, which overlooks the possibility of positive action. In this thesis, it is shown how Stiegler considers the originary technicity of humanity to reinterpret the ideas of Husserl, Kant, and Simondon and show the duality of technics. According to Stiegler, cinema can affect us because our consciousness has always been cinematic. The search of positive pharmacology of cinema leads to noticing that Stiegler links the therapeutic possibility of art with the question of participation that is lost because of contemporary technologies. In this thesis, it is shown that if participation is understood as active involvement in creative processes, the positive possibility of cinema becomes too narrow. Instead, it is demonstrated how some texts by Stiegler lets to interpret the question of participation as the possibility of analysis. It is suggested to understand the pharmacological duality of cinema as dependent on spectators’ effort to analyse the film, ask questions and not stay passive in this way. |
