Deleuze and Cinema: The Film Concepts

Deleuze and Cinema: The Film Concepts

Felicity Colman

Language: English

Pages: 192

ISBN: 1847880533

Format: PDF / Kindle (mobi) / ePub

Gilles Deleuze published two radical books on film: Cinema 1: The Movement-Image and Cinema 2: The Time-Image. Engaging with a wide range of film styles, histories and theories, Deleuze's writings treat film as a new form of philosophy. This ciné-philosophy offers a startling new way of understanding the complexities of the moving image, its technical concerns and constraints as well as its psychological and political outcomes. Deleuze and Cinema presents a step-by-step guide to the key concepts behind Deleuze's revolutionary theory of the cinema. Exploring ideas through key directors and genres, Deleuze's method is illustrated with examples drawn from American, British, continental European, Russian and Asian cinema. Deleuze and Cinema provides the first introductory guide to Deleuze's radical methodology for screen analysis. It will be invaluable for students and teachers of film theory, film history and film forms.

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who discuss film and ignore either of those two aspects (and he argues why). Deleuze names the main three movement signs: the perception-image, the affection-image, the action-image. He then invokes several other movement-signs, including the impulse-image, the reflection-image, the relation-image. These movement-signs are then qualified, and can be given further forms and content through description of the range of signs that organize them. Further, Deleuze describes different temporal signs

different types of narrative strategies (C2: 68; 71). In Donnie Darko the image of Frank the rabbit functions to signal variations in time for Donnie. The instructions for the ending of the world in Southland Tales, like the predictions given in Donnie Darko, coalesce into the actual images of the film through an exchange of temporal perception. This is made possible, says Deleuze, through a correspondence between the ‘two sides’ of an image: ‘actual and virtual’ (C2: 68, original emphasis). This

characterized by figures of the Apollonian and the Dionysian; Nietzsche’s concept of the eternal return, and Bergson’s vitalist concept of duration. Deleuze develops Peirce’s semiology to provide new words for an account of the range of time-signs. Deleuze applies and develops some of Bergson’s temporal schemas from Matter and Memory (Bergson [1896] 1994). Bergson’s theories on issues of duration, recognition and memory are engaged by Deleuze as temporal laws that account for the different

thought, becoming, time. Movement becomes stilled as different types of time-images – what Deleuze describes as the ‘crystalimage’ acts as vectors, forms and layers of time (C2: 68). Deleuze’s approach shows that even within a singular there is an ‘open list of logical conjunctions (“or”, “therefore”, “if”, “because”, “actually”, “although .â•›.â•›.”)’, plus ‘and’ itself (C2: 23; 214). Such conjunctions may be added to indicate a result, however, as we can see within any vectorial field of the

there time within the filmic construction to allow you to reflect upon what is unfolding, or drawing you in, or making you emotively react? Or is the screen work so tightly constructed that there are no gaps outside of its world, or is it edited together so fast that there are no pauses for your thoughts to enter the sound-images that your brain is processing, and it is not until afterwards that the ideas of the image start to take form? Thought is a process that cinema equally stimulates and

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