Deleuze and Cinema: The Film Concepts
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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.
composition (Deleuze and Guattari 1987: 435, original emphasis; C1: 59). Deleuze’s thesis is this: it is the inherent nature of this socially coded technical process – the cinematographic layout itself – from which the whole of the movement-image arises. This is the machinic nature of the cultural assemblage of a film: machinic not in the sense of the mechanist dimensions of the cinematic, but in the sense of the cinematic body as a social, living system (l’agencement machinique des
extend. My body is an image, hence a set of actions and reactions. My eye, my brain, are images, parts of my body. How could my brain contain images since it is one image among others? External images act on me, transmit movement to me, and I return movement: how could images be in my consciousness since I am myself image, that is, movement? And can I even, at this level, speak of ‘ego’, of eye, of brain and of body? Only for simple convenience; for nothing can yet be identified in this way. It
purposes, not for semiotic analysis (C1: xiv; C1: 69). Throughout the cinema books, Deleuze situates Peirce within a certain sphere of classification, combined with insights from linguist Louis Hjelmslev, film maker Pasolini, philosopher Bergson, and consolidated over work with Guattari in A Thousand Plateaus wherein any systematic analysis of signs must be understood as having political consequences by virtue of the ways in which the image can produce mental images – this is the third question
dramatic mood that such films never fail to impress upon their viewers, and in this sense provides an easy illustration of a vector. However, the vector is not just a category of the expressionist film (cf. Signs (Vector) 127 The Cabinet of Dr. Caligari; dir. Robert Wiene, 1920), just as it is not to be confused as a term that describes the mise-en-scène. As Deleuze explored, the vector is a physical arrangement (agencement) that provides a necessary facilitation for the abstract
method for engaging with previously unknown objects and coming to recognize that meaning can be discerned through attention to the taxonomic relations of objects, things, and people and their repetition under different conditions and over time, through to the diagrammatic flow of differentiating ‘belief or desire’ (Deleuze and Guattari 1987: 141; 219), a significant philosophy of the sign emerges in the cinema books. This philosophy forms a transsemiotic of the screen image, which indicates the