Constitutive Cinematic Phenomenology

The article explores the possibilities of applying constitutive (genetic) phenomenology to the analysis of cinema. The idea of isomorphism of constitutive phenomenology is formulated through its technocratic correlation in the form of a kinetic system for the production of impressions. As a model of modern cinema, the Spanish philosophical film “El Hoyo” (“The Pit”, “The Platform”) is considered. The metaphor of total control unfolds as a radical ontopoeisis that modernizes the Husserlian themes of creativity, impulse and process. The structure of the article: 1) the problem of the transition from static phenomenology to the constitutive model is posed, the authors of the constitutive phenomenology are reassigned, 3) the phenomenology of the Anna-Teresa Tymieniecka as the most prominent processual phenomenologist, 4) film fiction is considered as a technocratic isomorphic form of phenomenology, 5) the conceptual content of the El Hoyo movie as an example of a multi-layer phenomenological object is considered. The results of the study: 1) the genesis of constitutive phenomenology is analysed, 2) the contribution of Tymieniecka to constitutive phenomenology is evaluated through the inclusion of the emergent categories of kayros, proliferation, creative imagination, onpoeisis, 3) an interpretation of constitutive phenomenology and cinematic art was carried out.