Cinema as synthesis of arts: person, space and time

Charms of cinema continuously surround the person who grew up in modern culture. The movie at the same time not just becomes simulation of life, but life begins to be thought as the movie. Whether the person is deceived, comprehending the experience of presence in the world as the movie? What does the ontologic force of cinema which irresistibly influences the viewer consist in? The unprecedented variability, confusion and esthetic oversaturation of cinema forces us again and again to address a question what art form, which as if embraced in itself all others is. Intension of the present article is not the analytical deconstruction of esthetic experience of cinema and demonstration of its art relations received in section, it is rather a fumbling of the genesis of this highest art capable to accomodate itself any other and to give it a voice. This work does not seek to rationalize, exsanguinate him charms — the attempt to illuminate them from within is presented here, without depriving of the known charm. Cinema — not just a subject of this research, but a trophy to which it is necessary to come. This need of realization of cinema — both cultural and historical, and purely philosophical, found in the relation of the person and the world — is on what all way of a research is under construction. Eventually, distinction of humanity of cinema and cinematic of the person is impossible. The opinion according to which cinema is considered something simply assimilating to life and by that destroying it appears not as absolutely obvious. The movie does not take away her egoism from life, but, on the contrary, serves her statement through amplification that is promoted by establishment of the special space-time relations of an estezis.