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The approach is informed by the philosophical concepts of atmosphere, Merleau-Ponty’s flesh and Deleuze’s affect. Affective atmosphere is about the sustained embodied presence of performers within the atmospheric conditions of the film set, which form the atmosphere of the resulting moving image.

The approach instead complicates the separation between actuality and pro-filmic reality, and it equally complicates the separation between the habitual effect of the self and the representation of a fictional character. by separation between periods of filming and not filming. Affective atmosphere as a production approach is about the focused and present becoming with reality that is not interrupted. The affective atmosphere approach to filmmaking emerged from a practice-as-research project entitled Affective Cinema, which seeks to explore the unique expressive potential of film by offsetting its function as a vehicle for coherent communication of narrative and drama. In this way, the paper presents new filmmaking methods uniquely rooted in film philosophy, while contributing to the expansion of the understanding of the nature of film and to the narrative/stylistic potential of cinema art. Furthermore, the paper discusses and presents outcomes of a practice research in film, which used this theoretical synthesis as a rationale for practical exploration and experimentation – establishing chance as a significant expressive tool and aesthetic element of film practice. Therefore, film can be seen as uniquely positioned on a semiotic threshold between movement and stillness – the infinitely complex movement of the real, and the conceptual stillness of language – translating randomness and chaos into aleatory significance, or revealing the unpredictable, contingent foundation of seemingly ordinary, habitual events.On the basis of a creative synthesis of particular aspects of the philosophy and theory of Bergson, Deleuze, Barthes and others, this paper sets out chance as the defining semiotic aspect of film.

Through the enhanced visibility (such as the close-up or slow-motion) and re-playability of this static state, film can reveal contingent nuances of this movement. This is because film has the ability to capture a direct, mechanical imprint of the unpredictable movement of reality as a series of equidistant static images.

As this paper argues, chance is the key defining aspect of film, distinguishing it from other forms of art and communication.

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