Abstract
In some works of art two things seem to happen at the same time: they present us a unique thinking-in-images of a specific director, writer or painter; but they connect us at the same time to a more universal dimension which I call: the idea of being humane. How can this occur? What is it in the internal structure of a work of art which makes this possible? And how is this internal structure linked to the social and political status of a work of art as either a part of a competitive market or as a model of utopian society? From the point of theory this structure is related here to French philosopher Merleau-Pontys concept of Gestalt, especially to his theory of the depth of space and what he calls Körperschema, the way how we are in our bodies in the interaction with others.
The main thesis of the gestalttheory is that we can be more or less connected to ourselves and others, fill our Körperschema/body-scheme more or less. This interpretation serves as a background which makes it possible to understand how different directors organize their film-space and the Körperschema of the protagonists.
In this step the research is methodologically focused on the comparative analysis of all films of a specific director. In this way, a fundamental new dimension of every work of art can be revealed: what traditionally is called ""style"" is reformulated as the ""work"" of structural powers which are unique for the imaginary thinking of every artist.