Afterimages of Gilles Deleuze’s Film Philosophy

A serious debate at the importance—and usefulness—of Deleuze’s movie theory

The first new choice of severe stories on Deleuze’s cinema writings in approximately a decade, Afterimages of Gilles Deleuze’s movie Philosophy offers unique essays that assessment the continued value of Deleuze’s movie theories, accounting systematically for the ways that they've got stimulated the research of latest visible tradition and delivering new instructions for examine.

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Table of contents:

Notes on Contributors.

Acknowledgments.

Introduction: Haneke’s Anachronism (Roy Grundmann).

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2 5 Tapes, 4 Halls, goals: Vicissitudes of Surveillant Narration in Michael Haneke’s Caché (Thomas Y. Levin).

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4 monitoring Code Unknown (Tom Conley).

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21 Hollywood Endgames (Leland Monk).

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30 Violence and the Media (Michael Haneke).

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32 Unsentimental schooling: An Interview with Michael Haneke (Roy Grundmann).

Filmography.

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Extra resources for Afterimages of Gilles Deleuze’s Film Philosophy

Sample text

Now, that is what I will do here: single out a little detail to find the small difference that makes all the difference between two approaches to the “openness” of the work of art. One approach, which I would call the idea of structural openness, could be considered as the last attempt to save the classical conception of the organic nature of the work of art, thus reconciling it with the increasing indeterminism appearing in the modern art of the middle of the twentieth century. The other, which I call the idea of the serial openness, is an attempt to liberate aesthetic quality from the requirement of classical organicity.

The text begins with forgetting and ends with the project. 40 In Praise of Love figures the emblem of a desired time as the fault in being. This passage to the outside crossing the film turns the image and inverts its signs. Far from crystallizing into time-images, the image becomes the vector of an idea, which is itself completely carried away by the exteriority it attends. This idea of time, both a becoming and a breaching [rupture de ligne], gives Godard’s film a troubling intensity, following which the outside, all at once, impedes time and declares it the eventual event.

Gilles Deleuze, une vie philosophique, ed. Eric Alliez (Le Plessis-Robinson, France: Les Empêcheurs de penser en rond, 1998), 525–36. 2. Image or Time? The Thought of the Outside in The Time-Image (Deleuze and Blanchot) Marie-Claire Ropars-Wuilleumier A Strange Attractor The grand narrative of the cinema that Deleuze proposes is, we know, ruled and turned on its head from the inside by the eternal return of sameness-in-difference (l’éternel retour du même différent).  W. Murnau. Thus the cinema plunges into itself, digging within itself its own time, more than it develops linearly.

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