This article draws upon work by Gilles Deleuze, Sanford Meisner, and William Connolly to argue that the practice of acting helps citizens to encounter unsettling circumstances in daily life; respond to and connect with others in more open, interactive ways; and expand the relatively stable repertoire of selves each person cultivates through life. Considering scenes from the films of Anna Magnani, Ronald Reagan, and Joan Crawford, I argue that acting spaces can be sites where an exploration and decentring of subjectivity (...) can proceed and new modes of democratic interaction and togetherness can be enacted. (shrink)

This article uses Deleuze's three-part theory of the movement-image as a way to investigate the potential importance of his unexplored claim about the casting of Beckett's Film. In “The Greatest Irish Film” Deleuze writes that the starring role in Film “could only have been played by Buster Keaton” 23), but he does not explain why. Here, I return to the Bergsonian basis of Deleuze's film theory, as well as to early responses to Beckett's Film, in order to complicate our understanding (...) of Deleuze's perception-image, action-image, and especially his affection-image. (shrink)