Plato and the possibility of a conceptual Invention of cinema: from the allegory of the cave to the materialization of the cinematic experience – a perspective from Palpable Philosophy
DOI:
https://doi.org/10.5902/2448065796106Keywords:
Plato, Cinema, Allegory of the cave, Mediatio, Philosophy educationAbstract
This article proposes a conceptual repositioning of the origin of cinema, shifting it from its technical invention in the late nineteenth century to a foundation rooted in the Allegory of the Cave by Plato. The central thesis argues that the structural elements of the cinematic experience—projection, spectator immobility, and mediation of reality—can be understood as being anticipated in Platonic philosophy. Beyond a theoretical reinterpretation, the study emphasizes the pedagogical implications of this approach for the teaching of philosophy. By understanding cinema as a form of cognitive and experiential mediation, the article suggests didactic possibilities aimed at transforming abstract philosophical concepts into perceptible and affective learning experiences. The discussion is further developed through the framework of Palpable Philosophy, understood here as an emerging theoretical-methodological approach that integrates sensory dimensions—such as kinesthesia and synesthesia—into knowledge construction, contributing to active learning methodologies and to an embodied understanding of philosophical thought. In addition, the article engages with Brazilian cultural production, particularly the concept of the “Aesthetics of Hunger” developed by Glauber Rocha, highlighting how creative and conceptual processes can emerge even under conditions of material constraint, which is relevant for educational practices. Methodologically, the research is qualitative in nature, adopting a theoretical-interpretative and hermeneutic approach, articulating Classical Philosophy, Film Theory—with emphasis on André Bazin and Christian Metz—and Phenomenology, particularly in Henri Bergson. The results indicate the potential of cinema as both an object and a method in philosophy teaching, fostering a more reflective, sensitive, and experiential understanding of philosophical activity.
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