Gilles Deleuze's Time Machine
David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
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Duke University Press (1997)
Although Gilles Deleuze is one of France’s most celebrated twentieth-century philosophers, his theories of cinema have largely been ignored by American scholars. Film theorist D. N. Rodowick fills this gap by presenting the first comprehensive study, in any language, of Deleuze’s work on film and images. Placing Deleuze’s two books on cinema—_The Movement-Image _and _The Time-Image_—in the context of French cultural theory of the 1960s and 1970s, Rodowick examines the logic of Deleuze’s theories and the relationship of these theories to his influential philosophy of difference. Rodowick illuminates the connections between Deleuze’s writings on visual and scientific texts and describes the formal logic of his theory of images and signs. Revealing how Deleuzian views on film speak to the broader network of philosophical problems addressed in Deleuze’s other books—including his influential work with Félix Guattari—Rodowick shows not only how Deleuze modifies the dominant traditions of film theory, but also how the study of cinema is central to the project of modern philosophy.
|Keywords||Motion pictures Philosophy|
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|Call number||PN1995.R6194 1997|
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Citations of this work BETA
Alia Al-Saji (2004). The Memory of Another Past: Bergson, Deleuze and a New Theory of Time. [REVIEW] Continental Philosophy Review 37 (2):203-239.
Richard Rushton (2008). Passions and Actions: Deleuze's Cinematographic Cogito. Deleuze Studies 2 (2):121-139.
David Deamer (2011). A Deleuzian Cineosis: Cinematic Semiosis and Syntheses of Time. Deleuze Studies 5 (3):358-382.
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