Gilles Deleuze's Time Machine
Duke University Press, 1997 - 258 páginas
Although Gilles Deleuze is one of France's most celebrated twentieth-century philosophers, his theories of cinema have largely been ignored by American scholars. Film theorist D. N. Rodowick fills this gap by presenting the first comprehensive study, in any language, of Deleuze's work on film and images. Placing Deleuze's two books on cinema—The Movement-Imageand The Time-Image—in the context of French cultural theory of the 1960s and 1970s, Rodowick examines the logic of Deleuze's theories and the relationship of these theories to his influential philosophy of difference.
Rodowick illuminates the connections between Deleuze's writings on visual and scientific texts and describes the formal logic of his theory of images and signs. Revealing how Deleuzian views on film speak to the broader network of philosophical problems addressed in Deleuze's other books—including his influential work with Félix Guattari—Rodowick shows not only how Deleuze modifies the dominant traditions of film theory, but also how the study of cinema is central to the project of modern philosophy.
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absolute horizon abstract machine action action-image actual affirmative becoming becoming-other Bergson body camera chapter chronological cinematic movement-image cinematographic concept consciousness continuity critique culture defined Deleuze and Guattari Deleuze argues Deleuze calls Deleuze writes Deleuze's deterritorialization diegetic Difference and Repetition direct image direct time-image duration Eisenstein eternal eternal recurrence expresses false film theory force frame free indirect fundamental Gilles Deleuze idea identity image of thought images and signs incommensurable incompossible indetermination indiscernible irrational interval La jetee linking logic longer Matter and Memory ment mental mobile section montage move narration narrative Nietzsche noosigns object organic paradox passing past Peirce perception perception-image perspective philosophy plane of immanence political cinema possible present produces pure relation represented respect Ridder schema semiotic sense sensorimotor sequence shot situation space spatial spiritual automaton temporal time-image tion transformed truth unfolding universal variation virtual visual whole writes Deleuze
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