Merleau-Ponty and Gibson
The third chapter introduces Gibson’s ecological approach to perception and develops it in relation to the cinematic illusion of bodily movement and the cinema more generally. Moving forward, it describes cinema’s perceptual work in ecological terms, developing one of the most important terms at length, ‘perceptual resonance’. Finally, the chapter shows how Gibson’s doctrine of perceptual resonance is profoundly complemented by Merleau-Ponty’s investigation of perceptual faith.
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