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Offers a fascinating analysis of the representation of time in film and the cinematic treatment of memory, thought and speech, and looks at the work of Godard, Hitchcock and Welles."
Paperback, 352 pages
Published March 1st 2005 by Bloomsbury Academic
(first published 1985)
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Maybe my dislike for this book is the result of a misunderstanding. Deleuze often sacrifices clarity for "novelty" of expression, so I wouldn't be surprised if I were told I'd entirely missed the point. But as I see it, this book is at once very interesting and almost totally useless. A couple of passages were almost insightful. But, by and large, I was constantly put off by the cute, unclear-because-unclarified terminology; the arbitrary examples; and fruitless references to biology, physics, a ...more
Cinema 2 encompasses almost all the trajectories of Deleuze's thought. He uses cinema as a concatenation of the various prongs of his thought, including a discussion of 'forking' time, difference and repetition, and becoming while establishing cinema firmly within our social sphere as a rhizome. Cinema 2 might not be the most accessible of the Deleuze books but if you are a cineaste and religiously follow films, then this book will provide an entrypoint into Deleuze that is much easier to follow ...more
What makes Deleuze's reading of cinema so engaging is his sketching the structural changes within classical and modern cinema, which demonstrates how cinema is creating new precepts, concepts, and signs. Particularly strong are the chapters on constitution of the time within modern cinema. Deleuze is one of the few philosophers to embrace aesthetics within his philosophy from its inception, making his dealings with artists and realms very productive: Deleuze resists the tendency to render an art ...more
Deleuze discutait très compréhensivement l'aspect sonore et visuel d'image, ainsi que les liens sensori-moteurs qui distinguent de la situation purement optique qu'on s'impose souvent sur le cinéma classique. Ce qui m'intéresse est les cristaux du temps usés dans les films, et aussi les techniques différents de chaque auteur ou chaque mouvement. Quand même, ça fait mieux d'avoir une compréhension complète du cinéma, cela pourra vous aider à le lire efficacement. C'est-à-dire, voyez tous les film ...more
This is a brilliant continuation of Deleuze's thinking through of cinema. However, in this volume he argues that the cinema that appears after 1945 reflects the growing fascination with time and the ways in which time are destablized by human experiences. Of real interest in this volume is Deleuze's discussion of postcolonial cinema and its connection to time as well as his fascinating and challenging explanation of how sound in cinema also reflects the changing qualities of time.
The second book by Deleuze takes us past the spatial subjectivity of the movement image to the construction of the time image in postmodern film. Deleuze's near encyclopedic knowledge of cinematic history is worth reading in and of itself. On top of this the construction of images and the discussion of how film operates provides great incite that will influence the way you view movies.
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Deleuze is a key figure in postmodern French philosophy. Considering himself an empiricist and a vitalist, his body of work, which rests upon concepts such as multiplicity, constructivism, difference and desire, stands at a substantial remove from the main traditions of 20th century Continental thought. His thought locates him as an influential figure in present-day considerations of society, crea ...moreMore about Gilles Deleuze...
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“The historical fact is that cinema was constituted as such by becoming narrative, by presenting a story, and by rejecting its other possible directions. The approximation which follows is that, from that point, the sequences of images and even each image, a single shot, are assimilated to propositions or rather oral utterances [...].”
“Ophüls’s images are perfect crystals. Their facets are oblique mirrors…And the mirrors are not content with reflecting the actual image, but constitute the prism, the lens where the split image constantly runs after itself to connect up with itself…On the track or in the crystal, the imprisoned characters bustle, acting and acted on…Crystalline perfection lets no outside subsist: there is no outside of the mirror or the film set, but only an obverse where the characters who disappear or die go, abandoned by life which thrusts itself back into the film set.”More quotes…