Concepts of poetics and simulation of meanings: philosophical discourse on cinematic art

Cinematic art possesses a unique capacity to engender alternative realms, fabricate spatial-temporal realities, and thereby engender the poetics of meaning. The existing modern research in philosophy, history, semiotics, cinematic reality, phenomenology, and narrative structure within cinematic art furnishes an extensive foundation for profound exploration into the quandaries of meaning and the logical construction of filmic language. The concepts of poetics and the simulation of meanings within cinematic art are intriguing to trace and analyze from diverse philosophical standpoints and perceptions. The art of cinema is based on and appeals to early forms of thinking, semantic image, ideal forms, representations of the world and art. The theories and worldview of ancient thinkers seem to have antedated the articulation of the authentic concept of cinema. Phenomenological research aims to fill the gaps in the system of human judgment, contemplation, logic, cognition and reason. Through the prism of philosophy, we glean a finer comprehension of how cinematic art shapes our perception of reality through replicas of natural world perception, portraying human existence within a simulacrum, which itself constitutes its own reality. As further investigations into these philosophical domains are pursued, a deeper comprehension of the complex relationship between cinema, perception, and the intricacies of human experience is developed.