The aim of this paper is to rethink the metaphors of the cinema as window and frame. The first one addresses the cinema as a transparent, open window that faithfully reproduces the world, taking the spectator’s view beyond the screen guided by realism and indexicality. The second one takes the screen as a rectangular surface that focuses the audience’s eye on the images that are produced inside its borders. In these pages I will revisit both notions, adding a third one inspired by the passe-partout of Derrida: the cinema as veil, also theorized as backdrop and decor. Ultimately, this approach explores the idea of simulacrum by analizing two examples: Blue (Apichatpong Weerasethakul, 2018) and Decor (Ahmad Abdalla, 2014).

中文翻译：

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电影：不是框架而是面纱

本文的目的是重新思考电影作为窗户和框架的隐喻。第一个将电影视为一个透明、开放的窗口，忠实地再现了世界，将观众的视野超越了由现实主义和索引性引导的银幕。第二个将屏幕作为一个矩形表面，将观众的注意力集中在其边界内产生的图像上。在这些页面中，我将重新审视这两个概念，并添加第三个受德里达的传记启发的概念：电影作为面纱，也被理论化为背景和装饰。最终，这种方法通过分析两个示例来探索拟像的概念：Blue (Apichatpong Weerasethakul, 2018) 和 Decor (Ahmad Abdalla, 2014)。