Afterimages of Gilles Deleuze’s Film Philosophy

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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 evaluation the ongoing importance of Deleuze’s movie theories, accounting systematically for the ways that they've got motivated the research of up to date visible tradition and delivering new instructions for learn.

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Between cinema and philosophy, two movements in tension overlap each other in these books. The first begins at the end of the nineteenth century, with the crisis of psychology and the invention of cinema, a rebirth of the world as a world of images, to which Nietzsche and Bergson respond with a new way of thinking philosophy. The second movement, internal to the first, links the two major modes of the image, qualified as classical and modern cinema— two ways, old and new, to relate to philosophy and conceive of concepts such that the split between image-thought and thought without image posed in Difference and Repetition gets reframed purely in terms of differences between images.

31 How can one understand this unique and almost inexpressible position of Michaux inside of a philosophy that is itself in search of a transformation for which this might be a means of suggesting the way? There are thus, in the work of Deleuze, two key moments when philosophy, still reaffirmed as ever, according to its own reality, is returned to a similar oscillation between the intrinsic and unlocatable interferences. ”33 The second instance occurs in Deleuze’s last book, Essays Critical and Clinical, where, as if indifferently, philosophers and writers are caught up in a single stream, having become creators of many languages within 10 RAYMOND BELLOUR language, all bearers of nonlinguistic visions and sounds that, through their words, also make them colorists and musicians.

Retroactively, it leads us to illuminate an inverse movement at work throughout The Time-Image—becoming is projected into this movement, while undoing the relation between time and image. I will now outline the terms of this reversal. It will be a matter of applying to the Deleuzian time-image, and the question of thought that extends out from it, the outside-becoming that comes to the foreground in the aggregate reading of Foucault, even while remaining tied to the thought of Blanchot, which is, in turn, given new depth through the light Foucault casts on it.

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