Pre-Reflective Visual Attraction to the Actor's Embodied Presence: Screen Presence Beyond Narrative Centrality

This paper investigates a specific spectatorial phenomenon: inexplicably persistent visual attention to the actor's embodied presence beyond what narrative centrality can explain. Taking Harvey Specter as embodied by Gabriel Macht in Suits (2011-2019) as narrative model, the study asks how screen presence is given to the spectator at a pre-reflective level, before thematic interpretation of character and plot. Building on the methodological framework developed in Kovačić Tot (2024) IPA study of Bill Tench (Mindhunter), the paper employs Interpretative Phenomenological Analysis with narrative model as phenomenological material, extended through triple hermeneutics. Analysis proceeds through phenomenological epoché, descriptive coding of embodied cues (posture, controlled movement, facial composure, vocal rhythm, sartorial integration, ritualized entrance), and interpretive mapping onto a four-part Jungian configuration. Findings show that persistence is grounded in (1) Magician as dominant - mastery of symbolic systems (language, legal knowledge, timing, information, social codes, appearance, perception of others) - knowledge transformed into power; (2) Warrior as supportive vector - territoriality, protection, confrontation giving Magician direction and force; (3) Trickster as subordinated function - manipulation of expectations, reversal, irony, status play, formula "I know the rules better than you do, therefore I can bend them"; (4) Persona as elaborated instrument - suit, posture, voice, vocabulary, hair, facial composure, controlled movement, ritualized entrance, not merely concealing but becoming instrument of agency, enabling attraction without psychological knowledge. Three hypotheses are tested: H1 Magician-Persona Hypothesis, H2 Subordination Hypothesis, H3 Warrior Amplification Hypothesis. Results suggest archetypal coherence amplifies intensity and explains temporal persistence independently of narrative development. Implications for continental film theory are discussed.