This article examines the rich visual culture of the medieval period in order to better understand dreaming as a kind of visual thought experiment, one in which ideas associated with cinema, such as embodied viewing, narrative sequencing, projection, and sensory engagement, are palpable in a range of visual and literary works. The author explores the theoretical connections between the oneiric qualities of cinema and the visual culture of medieval dreams, dealing in turn with the following themes: (i) media and mediation; (ii) projection and premonition; (iii) virtual spatiality; and (iv) automata and other animated objects. The wide swath of medieval literary dream texts, with their mobile perspectives, sensory plentitude, and gnostic mission, resonate with the cinematic in the structuring of the gaze. Investigating the codes of medieval culture provides us with an unusually rich episteme for thinking about how the dreamscapes of the Middle Ages evoke media dispositifs. Opening up these thought lines across distinct eras can help us extrapolate similarities around ways of imagining objects, spaces, sensations of embodied viewing or immersion, reminding us that our contemporary cinematic and digital landscapes are not divorced from earlier ways of seeing and believing. Whether stoking religious fear and veneration or providing sensual pleasure as in Le Roman de la Rose, the dreamworlds of the Middle Ages have bequeathed us a number of an extraordinarily rich creative works that are the imaginative building blocks of media worlds-in-the-making, as speculative in many ways as current discourses around new media.

本文考察了中世纪时期丰富的视觉文化，以便更好地将梦视理解为一种视觉思维实验，在这种实验中，与电影相关的想法（如体现的观看，叙事顺序，放映和感官参与）可以在其中体现出来。一系列视觉和文学作品。作者探讨了电影的讽刺性与中世纪梦的视觉文化之间的理论联系，依次涉及以下主题：（i）媒体与调解；（ii）预测和预告；（iii）虚拟空间；（iv）自动机和其他动画对象。中世纪文学梦想文本的广泛领域，以其移动的视角，感官的宽容和精明的使命，在凝视的结构中与电影产生了共鸣。对中世纪文化规范的研究为我们提供了一个异常丰富的认识，让我们思考中世纪的梦境如何唤起媒体的关注。在不同的时代开启这些思想界线，可以帮助我们在想象对象，空间，具体观看或沉浸感的方式上推断相似性，这提醒我们，我们当代的电影和数字景观与早期的观看和相信方式没有脱节。无论是引发宗教恐惧和敬拜，还是提供感性的愉悦感，如 提醒我们，我们当代的电影和数字景观与早期的观看和相信方式没有脱节。无论是引发宗教恐惧和敬拜，还是提供感性的愉悦感，如 提醒我们，我们当代的电影和数字景观与早期的观看和相信方式没有脱节。无论是引发宗教恐惧和敬拜，还是提供感性的愉悦感，如Le Roman de la Rose，中世纪的梦幻世界遗赠了我们许多非常丰富的创意作品，这些作品是正在形成的媒体世界的富有想象力的基石，在许多方面都像是在围绕新媒体的当前话语进行投机。 。