This work focuses primarily on the fundamental mechanisms triggered by perceptual shocks, which in turn give rise to the ambivalent feeling of the sublime. This experience has a masochistic component, as it is characterised by an interplay of pleasure and displeasure. The act of watching a film constitutes a contract between the viewer and the film, entered into voluntarily. Cinema films thus prove to be suitable subjects for an analysis centred on questions of reception and the intentional evocation of sublime feelings, and on how one might approach this elusive phenomenon.
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