Academic journal article Analysis and Metaphysics

Gilles Deleuze: Cinema and Philosophy

Academic journal article Analysis and Metaphysics

Gilles Deleuze: Cinema and Philosophy

Article excerpt

Gilles Deleuze: Cinema and Philosophy Paola Marrati (Johns Hopkins University) Translated by Alisa Hartz Baltimore, MD: The Johns Hopkins University Press, 2008, 138 pp. ISBN 978-0-8018-8802-1

Marrati says that, on Deleuze's reading, the regime of movement-ima ges cannot be reduced to the action-image configuration. Affection-images and perception-images seldom represent the organizing criterion of a film. The action form is consistent with liberal and historicist concepts of subjectivity and instrumenta lit y, while the a dva nce of time-ima ges is a n endea vor to consider agency from the beginning, along various lines than those required by liberalism and historicism. Italian neorealism is a cinema of the viewer, wher e the persona ges ar e mor e obser vers tha n a gents. Moder n cinema is looking for more consideration. Novel situations necessitate new cinematic configurations as the old ones have diminished considerably their capacity of conviction for us. Modern cinema liberates time from its subjection to movement. Movements and undertakings take place in time and space. The pivotal purpose of reasoning should dodge both reminiscence and rejection for the purpose of being imaginative. Modern cinema could investigate novel kinds of agency wrapped in time, intricately connected to perceptions, affects, and thoughts. The technological conditions of cinema should be clarified.

The ideas discussed here imply that filmic images are signs, but not linguistic ones. Cinema engages in a realm of images without replicating it in any manner. The material space of movement-images is a metacinema. Deleuze explains that the accumulation between perception-, action-, and affectionimages represents the substance of films. …

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