Renewing the structure of presence in the heroine's contemplations in ‘The Dream’, A Cognitive Pragmatic Approach
Dr. Mohammed Sameer Abd Elsalam
Art Critic and Literary Critic
Today, I return to write about experimental film and its relationship to consciousness, the unconscious, levels of perception, and possible meta-cognitive processes behind the scene, through the film entitled The Dream and directed by David Walter.
I think that the experimental pictorial discourse of the film is based on the connection between themes that renew the moment of the self’s first encounter with the world, or with possible or virtual worlds, and the anticipation of mental experience beyond incarnation in possible narrative pieces of stories or contemplative images, and the renewed critical encounter with signs of a pluralistic world under formation within the conscious and unconscious, and the renewed question about the cognitive structure of the first-person conscience; and in this aesthetic context, I am interested in pointing out the interpretive link between the scene of the self at the beginning of the dream under red lighting and the other scene of the self in a state of sleep and contemplation, and I can assume the existence of a superficial representative monitoring or meta-cognitive activity based on the states of I - now, which is a cognitive state that monitors the images of consciousness and the unconscious that are formed only in the structure of the heroine’s presence, and the state of I -imagine, which is based on building possible and interpretive story plots for the first-person conscience, and I assume that the heroine belongs to the first-person conscience within the state of spiritual contemplation, and she modifies the previous inferential scheme about the first-person conscience; Because the self is in an existential position that enhances the creative loneness that transfers the moment of presence towards the possible cosmic - dreamlike - spaces beyond the scene of feminine contemplation.
Additionally, I see that a contextual reading of the proliferation of abundant juxtaposed images of meditation scenes in the media in our contemporary world confirms the production of a new, rich and creative moment of loneness, confirming the abundance of cosmic, virtual and dreamy worlds that are juxtaposed, overlapping and possible beyond meditations or daydreams or Lucid Dreaming.
We can read some of the film's semantics according to the cognitive pragmatic approach, and the relationship between the experimental semiotic content of the film and the recipient that indicates the importance of the heroine's interpretation of the first-person pronoun at three levels of perception, which are dream observation, production of a contemplative dream, and meta-cognitive representational observation of this contemplative dream. Then we read the most relevant element according to the principle of cognitive relevance according to Sperber and Wilson's perception through the director and recipient's selection of the possible interpretive contextual indicator of the first-person pronoun that gradually glows in a movement resembling Crescendo in the stage of monitoring the rich loneliness within abundant possible spatial references and phenomenal images of the self beyond the mental state I - now when it unites with the mental state I - meta-cognitive at the same time.
Hence, the deductive argument included in the film's pictorial discourse is based on the validity of the hypothesis of achieving authenticity in the state of loneliness as a contemplative position that includes intertwined structures of possible phenomenal presence, therefore, the result is the renewal of the instantaneous discovery of the heroine's self and her metaphors from the perspectives of the potential performance and super-monitoring within the overlapping spaces.
The film's discourse also includes a set of implicit speech acts such as the representative speech act that confirms the formation of the self in the alternation between dream, contemplation and representative observation, the expressive speech act that enhances the expansion of the structure of plural presence, and the directive speech act that renews the question about the metaphorical representations of the self in the future.
I see that the black color of the heroine's dress confirms the ghostly presence and the deep inner creative mystery that exhausts the centrality of embodiment.
As for the cognitive metaphor, it is formed from the convergence between the first input space, which is the moment of dreamy contemplation, and the second input space, which is the spectral, invisible contemplative moment doubled beyond the visible scene, and the cognitive blending space will become a possible space located between the dreamy scene and its metaphorical representations.
Finally, I see that the film has achieved an addition to the stream of possible female contemplative dreams.
Note:
The link to the movie is:
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