David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jack Alan Reynolds
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Stanford University Press (2003)
This book explores Gilles Deleuze's contribution to film theory. According to Deleuze, we have come to live in a universe that could be described as metacinematic. His conception of images implies a new kind of camera consciousness, one that determines our perceptions and sense of selves: aspects of our subjectivities are formed in, for instance, action-images, affection-images and time-images. We live in a matrix of visual culture that is always moving and changing. Each image is always connected to an assemblage of affects and forces. This book presents a model, as well as many concrete examples, of how to work with Deleuze in film theory. It asks questions about the universe as metacinema, subjectivity, violence, feminism, monstrosity, and music. Among the contemporary films it discusses within a Deleuzian framework are Strange Days, Fight Club, and Dancer in the Dark.
|Keywords||Motion pictures Philosophy Culture in motion pictures|
|Categories||categorize this paper)|
|Buy the book||$9.05 used (69% off) $18.00 new (38% off) $28.95 direct from Amazon Amazon page|
|Call number||PN1995.P53 2003|
|ISBN(s)||0804740283 9780804740289 0804740275|
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Citations of this work BETA
Richard Rushton (2008). Passions and Actions: Deleuze's Cinematographic Cogito. Deleuze Studies 2 (2):121-139.
Paul Ardoin (2015). Beckett's Film, “Which Could Only Have Been Played by Buster Keaton”. Angelaki 20 (4):5-21.
David H. Fleming & William Brown (2011). Deterritorialisation and Schizoanalysis in David Fincher's Fight Club. Deleuze Studies 5 (2):275-299.
Patricia Pisters (2014). Heart of the Matter. Angelaki 19 (4):23-36.
David Deamer (2011). A Deleuzian Cineosis: Cinematic Semiosis and Syntheses of Time. Deleuze Studies 5 (3):358-382.
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