20.500.12556/RUP-22522 The Poetic Documentary as an Affective Configuration of Thinking-in-Proximity Poetični dokumentarec kot afektivna struktura mišljenja bližine This article considers the poetic documentary as a dispositif that does not think in language, but in touch-in rhythms, in auditory tensions, in visual suspensions where the image does not speak but endures. Taking Vid Hajnšek’s A Tree Grows in My Dreams Every Night (V mojih sanjah rase vsako noč drevo, 2024) as its central case study, the article explores how a film – when it relinquishes narration and representation – can create the conditions in which thought no longer unfolds as conceptual reflection, but as an embodied orientation in a world that emerges within the frame. Perception is not treated as mediation between subject and object, but as a mode of being in which the body lingers in affect. The key concept is hesitation – as a tension that does not interrupt, but reconfigures the relation between image and body. The film does not ask what truth is, but how it might act – not as explanation, but as presence. Merging a phenomenological framework (Merleau-Ponty, Sobchack, Marks, Massumi, Sontag) with formal analysis (of framing, rhythm, sound, and texture), the article proposes that the poetic documentary does not produce knowledge, but generates the conditions in which thinking can happen – as affect, as duration, as proximity. Prispevek razmišlja o poetičnem dokumentarcu kot dispozitivu, ki mišljenja ne utemeljuje v jeziku, temveč v dotiku – v ritmih, zvočnih napetostih, vizualnih zadržkih, kjer podoba ne govori, ampak traja. Na primeru filma V mojih sanjah raste vsako noč drevo (2024) Vida Hajnška analizira, kako lahko film – kadar se odpove naraciji in reprezentaciji – vzpostavi pogoje, v katerih mišljenje ni več konceptualna refleksija, temveč telesna orientacija v svetu, ki se šele vzpostavlja. Zaznava tu ni posrednica med subjektom in objektom, temveč način, kako telo vztraja v afektu. Osrednji koncept je zadržek – napetost, ki ne prekine, temveč vzpostavi novo konfiguracijo razmerja med telesom in podobo. Film se v tem okviru ne sprašuje, kaj je resnica, temveč, kako lahko resnica učinkuje – ne kot razlaga, temveč kot prisotnost. Prispevek združuje fenomenološki miselni okvir (Merleau-Ponty, Sobchack, Marks, Massumi, Sontag) z analizo formalnih elementov filma (kadra, ritma, zvoka, teksture), pri čemer poudari, da poetični film ne proizvaja vednosti, temveč pogoje, v katerih se mišljenje lahko zgodi – kot afekt, kot trajanje, kot bližina. poetic documentary dispositif hesitation affect A Tree Grows in My Dreams Every Night poetični dokumentarec dispozitiv zadržek afekt V mojih sanjah raste vsako noč drevo true false false Angleški jezik Slovenski jezik Članek v reviji 2026-01-22 09:35:03 2026-01-22 09:35:03 2026-01-23 03:05:08 0000-00-00 00:00:00 2025 0 0 str. 235-255 no. 2 Vol. 57 2025 0000-00-00 Zaloznikova Objavljeno NiDoloceno 0000-00-00 0000-00-00 0000-00-00 0587-5161 2630-4082 https://doi.org/10.26493/2630-4082.57.235-255 ZUP_Krajnc_Maja_2025.pdf ZUP_Krajnc_Maja_2025.pdf 1 082EDBC19C251EF119DCFDFEF4220E96 f610b443006e823bdcba8946eac4176f77bf554b213ceaa638875fd9bee39fb9 6e99859e-f76d-11f0-b092-005056ac49c0 https://repozitorij.upr.si/Dokument.php?lang=slv&id=32757 Založba Univerze na Primorskem 0 0 0