Cinema After Deleuze (Deleuze Encounters)
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CinemaAfter Deleuzeoffers a clear and lucid introduction to Deleuze's writings on cinema whichwill appeal both to undergraduates and specialists in film studies andphilosophy. The book provides explanations of the many categories andclassifications found in Deleuze's two landmark books on cinema and offersassessments of a range of films, including works by John Ford, SergeiEisenstein, Alfred Hitchcock, Michelangelo Antonioni, Alain Resnais and others.Contemporary directors such as Steven Spielberg, Lars von Trier, MartinScorsese and Wong Kar-wai are also examined in the light of Deleuze's theories,thus bringing Deleuze's writings on cinema right up to date.
Cinema After Deleuze demonstrates why Deleuze is rightly consideredtoday to be one of the great philosophers of cinema. The book is essentialreading for students in philosophy and film studies alike.
Deleuze seems to take Italy as emblematic for the future of the world as such: one era of history has passed, and the end of World War II signals the potential birth of a new era. And the neorealist filmmakers begin to tell different kinds of stories, ones not based on certainties and grand narratives – there are no ‘large form’ narratives here – and these filmmakers also introduce different kinds of heroes, ones whose aims are no longer those of founding a new civilization by overcoming evil,
turn assert themselves as visions in the present. And this character is also a filmmaker so that visions of his past are re-imagined for the film he is trying to make. By way of these interlinked representational Ophüls and Fellini 83 layers – memory, fantasy, dream, film, photograph, screen test and sketch – Fellini slowly builds his crystal-image. Entwined with these representational layers, however, are also the layers of Guido’s past: his memories of his parents, of La Saraghina (the
time-image. The kinds of thoughts produced by Hitchcock’s films are based on interpretation and discovery. That is, thinking in Hitchcock’s films is based on weighing up the existing relations between things or discovering a true relation between things. Even if Guy Haines is put in a difficult position in Strangers on a Train, he still manages to use his intelligence and strength to ensure the truth of the matter is uncovered in the end (that he was framed by Bruno); and even if there are
they show us that injustice is all too prevalent in a manner which makes it virtually impossible to judge what is good and what is evil – then this is part of a demand to truly expose to us ‘the unthought in thought’. Von Trier dares to show us what we might not ourselves dare to think; he shows us that which today has been excluded from thought. From this perspective Rancière is indeed correct when he writes that today: there is no status for the excluded in the structuration of the community.
than any internal world (Deleuze, 1989, pp. 277–8). With his endings, with his crystalline open images, Kiarostami delivers this ‘parcelling’ of the external world, the juxtapositions, jumpings and layerings by means of which links can be made precisely as a result of the delinkages between man and the world, between accepted modes of thinking and the external world. The renewed linkages are those between an inside ‘deeper than any internal world’ – that 156 Cinema After DEleuze is, the