Deleuze's two Cinema books explore film through the creation of a series of philosophical concepts. Not only bewildering in number, Deleuze's writing procedures mean his exegesis is both complex and elusive. Three questions emerge: What are the underlying principles of the taxonomy? How many concepts are there, and what do they describe? How might each be used in engaging with a film? David Deamer's book is the first to fully respond to these three questions, unearthing the philosophies inspiring Deleuze's classifications, exploring every concept and reading a film for each. Clearly and concisely mapping the Cinema books for newcomers to Deleuzian film studies, Deamer also opens up new areas of enquiry for expert readers. Key Features:• An interpretation of Bergson's Matter and Memory through Deleuze's Bergsonism describing the ground of Deleuze's film-philosophy;• A reading of Peirce's semiosis from Pragmatism and Pragmaticism explicating the genesis and components of the movement-image;• An examination of Deleuze's syntheses of time, space and consciousness from Difference and Repetition illuminating the genesis and components of the time-image; • Concise engagements with each of the cinematic signs to assist reading Deleuze's Cinema books, as well as commentaries and monographs that draw upon them;• 44 film readings – one for each cinematic sign – to clarify their application.
- 397 pages
- English
- PDF
- Available on iOS & Android
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Subtopic
Film & VideoTable of contents
- Acknowledgements
- Abbreviations
- Preface: A Deleuzian Cineosis
- Part One: Unfolding the Cineosis
- Section I. First Introduction. Two Regimes of Images
- 1. Movement-images and Time-images: Bergson, image and duration
- 2. Movement-images: Peirce, Semiosis
- 3. Time-images: Deleuze, syntheses
- 4. Time-images and Movement-images: Bergson, duration and image
- Section II. Second Introduction. A Series of Images and Signs
- 1. Perception-images
- 2. Affection-images
- 3. Impulse-images (the nascent action-image)
- 4. Action-images (small form, action → situation)
- 5. Action-images (large form, situation → action)
- 6. Attraction-images (first reflection-image; sixth mental-image)
- 7. Inversion-images (second reflection-image; fifth mental-image)
- 8. Discourse-images (third reflection-image; fourth mental-image)
- 9. Dream-images (third mental-image)
- 10. Recollection-images (second mental-image)
- 11. Relation-images (first mental-image)
- 12. Opsigns and sonsigns
- 13. Hyalosigns
- 14. Chronosigns
- 15. Noosigns
- 16. Lectosigns
- Afterword to Part One: The Unfolded Cineosis
- Section III. Third Introduction. Cinematographics (1995–2015)
- 1. The Diving Bell and the Butterfly. Solid perception
- 2. Timecode. Liquid perception
- 3. Naqoyqatsi. Gaseous perception
- 4. Theeviravaathi/The Terrorist. Icon
- 5. Despicable Me, Despicable Me 2 and Minions. Dividual
- 6. Le quattro volte/Four Times. Any-space-whatever
- 7. The Human Centipede (First Sequence). Symptom
- 8. Harry Potter and the Deathly Hallows: Part 1 and Part 2. Fetish
- 9. Innocence. Originary World
- 10. Madeo/Mother. Index of lack
- 11. The Killer Inside Me. Index of equivocity
- 12. Ajami. Vector
- 13. marxism today (prologue) and untitled. Milieu
- 14. Made in Dagenham. Binomial
- 15. Fish Tank. Imprint
- 16. Tian bian yi duo yun/The Wandering Cloud. Plastic figure
- 17. Scott Pilgrim vs. the World. Theatrical figure
- 18. Source Code. Mise en abyme
- 19. Four Lions. Figure of the sublime
- 20. Slackistan. Figure of enfeeblement
- 21. Un homme qui crie/A Screaming Man. Quotidian
- 22. Monsters, Limit of the large form action-image
- 23. Brooklyn’s Finest. Limit of the small form action-image
- 24. Metro Manila. Limit of the action-image
- 25. Star Trek – First Contact. Rich dreams
- 26. The Machinist. Restrained dreams
- 27. Inception. Movement of world
- 28. El secreto de sus ojos/The Secret in Their Eyes. Strong destiny
- 29. White Material. Weak destiny
- 30. Triangle. Forking paths
- 31. Se7en. Mark
- 32. Doctor Who – The Day of the Doctor. Demark
- 33. Buried. Symbol
- 34. Five. Opsigns and sonsigns
- 35. Black Swan. Mirrors face to face
- 36. Self Made. Limpid and opaque
- 37. Synecdoche, New York. Seed and environment
- 38. Loong Boonmee raleuk chat/Uncle Boonmee Who Can Recall His Past Lives. Peaks of the present
- 39. Russkiy kovcheg/Russian Ark. Sheets of the Past
- 40. Er shi si cheng ji/24 City. Powers of the false
- 41. I’m Not There. Bodies of attitude
- 42. Politist, adjectiv/Police, Adjective. Bodies of gest
- 43. Dogville. Cinema of the brain
- 44. Enter the Void. Lectosigns
- Select Bibliography
- Filmography
- Index
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