| Sumario: | By drawing on Husserl's manuscripts on Phantasy, Image Consciousness and Memory, this paper aims to shed light on some of the primary concepts defining his notion of image-such as "belief," "presentification" (Vergegenwärtigung) and perzeptive Phantasie-and endeavours to show how such concepts could be profitably developed for the sake of a phenomenological description of film image. More in particular, these analyses aim to give a phenomenological account of the distinction between positing film images, presupposing a claim to reality-for example the ones we experience in a documentary attitude-and quasi-positing film images involved in artistic creation. The latter, despite their photographic relation to reality, are capable of giving rise to filmic "image-worlds" having intersubjective existence.
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