Rozzoni, Claudio2018-05-242019-10-1020161582-5647PURE: 2342214PURE UUID: d6c64248-2ae9-422a-8c24-23bc5e935775WOS: 000393499000011Scopus: 85025443740http://hdl.handle.net/10362/37809SFRH/BPD/82038/2011 UID/FIL/00183/2013Dialoguing with Husserl’s manuscripts on Phantasy, Image Consciousness and Memory, this paper aims to shed light on some of the primary concepts defining his notion of image – such as “belief,” “presentification” (Vergegenwärtigung) and perzeptive Phantasie – and endeavors to show how such concepts could be profitably developed for the sake of a phenomenological description of film image. More in particular, these analyses aim to give a phenomenological account of the distinction between positing film images, presupposing a claim to reality – for example the ones we experience in a documentary attitude – and quasi-positing film images involved in artistic creation. The latter, despite their photographic relation to reality, are capable of giving rise to filmic “image-worlds” having intersubjective existence.29609008engBeliefRealityImagePhantasyPerceptiojournal article