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Gilles Deleuze, Hugh Tomlinson & Barbara Habberjam (1988). Cinema 1: The Movement Image.

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  1.  3
    The Matter of Silence in Early Childhood Bilingual Education.Anna Martín-Bylund - 2017 - Educational Philosophy and Theory 50 (4):349-358.
    The relationship between silence as non-speech and bilingualism in early childhood education is intricate. This article maps this relationship with the help of diverse theoretical entrances to a video-recorded everyday episode from a bilingual preschool in Sweden. Though this, three alternative readings of silence are produced. Thinking with Deleuzian philosophy, the aim is to consider how the different readings of silence require different understandings of both time and language and allow different bilingual child subjectivities. The different readings present silence as (...)
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    Deleuze and Guattari’s Language for New Empirical Inquiry.Pierre Elizabeth Adams St - 2017 - Educational Philosophy and Theory 49 (11):1080-1089.
    This paper reviews Deleuze’s theory of language in Logic of Sense, and Deleuze and Guattari’s theory of language in A Thousand Plateaus. In the ontology informed by the Stoics described in those books, human being and language do not exist separately but in a mixture of words and things. The author argues that this flattened ontology of surfaces is incommensurable with the ontology of depth used in conventional humanist qualitative methodology and recommends beginning new empirical inquiry with a concept instead (...)
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  3.  6
    Between Luxury and Need: The Idea of Distance in Philosophical Anthropology.Alison Ross - 2017 - International Journal of Philosophical Studies 25 (3):378-392.
    This paper offers a critical analysis of the use of the idea of distance in philosophical anthropology. Distance is generally presented in works of philosophical anthropology as the ideal coping strategy, which rests in turn on the thesis of the instinct deficiency of the human species. Some of the features of species life, such as its sophisticated use of symbolic forms, come to be seen as necessary parts of this general coping strategy, rather than a merely expressive outlet, incidental to (...)
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  4.  3
    Nietzsche on Film.Mark Steven - 2017 - Film-Philosophy 21 (1):95-113.
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  5.  1
    Deleuze and Kieślowski: On the Cinema of Exhaustion.Eddy Troy - 2017 - Film-Philosophy 21 (1):37-59.
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  6.  3
    Non-Cinema: Digital, Ethics, Multitude.William Brown - 2016 - Film-Philosophy 20 (1):104-130.
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  7.  3
    Non-Cinema, or The Location of Politics in Film.Lúcia Nagib - 2016 - Film-Philosophy 20 (1):131-148.
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  8.  5
    The Filmmaker as Metallurgist: Political Cinema and World Memory.Patricia Pisters - 2016 - Film-Philosophy 20 (1):149-167.
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  9.  7
    Beckett's Film, “Which Could Only Have Been Played by Buster Keaton”.Paul Ardoin - 2015 - Angelaki 20 (4):5-21.
    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 (...)
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  10.  9
    Classroom Video Data and the Time-Image: An-Archiving the Student Body.Elizabeth de Freitas - 2015 - Deleuze Studies 9 (3):318-336.
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  11.  7
    David Martin-Jones and William Brown Deleuze and Film, Edinburgh: Edinburgh University Press. 248 Pp.Gloria Galindo - 2015 - Film-Philosophy 19.
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  12.  8
    Adrian J. Ivakhiv Ecologies of the Moving Image: Cinema, Affect, Nature.Helen Hughes - 2015 - Film-Philosophy 19.
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  13.  51
    Kierkegaard’s Quest: How Not to Stop Seducing.Finn Janning - 2015 - Philosophy of Management 14 (2):95-109.
    Change has traditionally been perceived as something to be avoided in favor of stability. This can be witnessed in both individual and organizational approaches to change. In this paper, change as a process of becoming is analyzed. The author relates change to seduction to introduce new perspectives to the concept. The principal idea is that the process of change is a seductive experience. This assumption highlights the positive aspects of becoming, growing, and changing. In doing so, reference is made to (...)
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  14.  34
    Territory and Ritornello: Deleuze and Guattari on Thinking Living Beings.Arjen Kleinherenbrink - 2015 - Deleuze Studies 9 (2):208-230.
  15.  1
    Image as Gesture: Notes on Aernout Mik’sCommunitasand the Modern Political Film.Patricia Pisters - 2015 - Journal for Cultural Research 19 (1):69-81.
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  16.  8
    Deleuze, the ‘Neo-Realist’ Break and the Emergence of Chinese Any-Now-Spaces.David H. Fleming - 2014 - Deleuze Studies 8 (4):509-541.
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  17.  11
    Deleuze and Kuki: The Temporality of Eternal Return and ‘Un Coup de Dés’.Tatsuya Higaki - 2014 - Deleuze Studies 8 (1):94-110.
    Shuzo Kuki is a Japanese philosopher, belonging to the Kyoto school, who lived about a hundred years ago. He learned philosophy in Europe and developed an original theory of contingency, by accommodating the Asiatic way of thinking on the one hand, and Western philosophy on the other. In this article, I show that we can find similarities between his theory of contingency and the philosophy of Deleuze, especially in regard to the subject of temporality and eternal return. Needless to say, (...)
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  18.  1
    How Are George Orwell’s Writings a Precursor to Studies of Popular Culture?John Michael Roberts - 2014 - Journal for Cultural Research 18 (3):216-232.
  19.  12
    A Sacrificial Economy of the Image.Ashley Woodward - 2014 - Angelaki 19 (4):141-154.
    :The theme of sacrifice appears in Jean-François Lyotard's writings on cinema not in terms of any representational content but in terms of the economy of the images from which a film is formally constructed. Sacrifice is here understood in a sense derived from Bataille, and related to his notions of general economy, and of sovereignty. Lyotard's writings on cinema have received some attention in English-language scholarship, but so far this attention has been focused almost exclusively on two essays which have (...)
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  20.  14
    The Closure of the 'Gold Window': From 'Camera-Eye' to 'Brain-Screen'.Morgan M. Adamson - 2013 - Film-Philosophy 17:245-264.
    This essay explores the correspondence between cinema and money through an investigation of what I call the 'financialization of the image.' Drawing from the tradition of psychoanalytic film criticism and the cinematic ontology of Gilles Deleuze, it argues that the 'camera-eye' and the 'brain-screen' are distinct modes of organizing cinematic perception in capital. Furthermore, it argues that Gilles Deleuze's understanding of the brain-screen is the most adequate mode of thinking of the organization of subjective vision within control societies and the (...)
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  21.  20
    Deleuzian Dragons: Thinking Chinese Strategic Spatial Planning with Gilles Deleuze.Kang Cao & Jean Hillier - 2013 - Deleuze Studies 7 (3):390-405.
    As symbols of adaptability and transformation, together with qualities of vigilance and intelligence, we argue the relevance of dragons for spatial planning in China. We develop a metaphorical concept – the green dragon – for grasping the condition of contemporary Chinese societies and for facilitating the development of theories and practices of spatial planning which are able to face the challenges of rapid change. We ask Chinese scholars and spatial planners to liberate Deleuzian potential for strategic spatial planning in a (...)
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  22.  22
    'Misfortune's Image': The Cinematic Representation of Trauma in Robert Bresson's Mouchette (1967).Mark Cresswell & Zulfia Karimova - 2013 - Film-Philosophy 17:154-176.
    This paper asks questions about 'trauma' and its cultural representation specifically, trauma's representation in the cinema. In this respect, it compares and contrasts the work of Robert Bresson, in particular his 1967 masterpiece, Mouchette , with contemporary Hollywood film. James Mangold's 1999 'Oscar-winning' Girl, Interrupted offers an interesting example for cultural comparison. In both Mouchette and Girl, Interrupted the subject matter includes, amongst other traumatic experiences, rape, childhood abuse and suicide. The paper ponders the question of whether such aspects of (...)
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  23.  22
    I'm Glad I'm Not Me: Subjective Dissolution, Schizoanalysis and Post-Structuralist Ethics in the Films of Todd Haynes.Helen Darby - 2013 - Film-Philosophy 17:330-347.
    This article reads a selection of films by Todd Haynes - Superstar: The Karen Carpenter Story (1987), Velvet Goldmine (1998) and I'm Not There (2007) - through the post-structuralist lens of Deleuzian theorising about the self as a networked singularity rather than an essential subject. The overall aim of the piece is to consider Haynes' films as artefacts that require the participatory audience to be involved in their making. Gilles Deleuze and Felix Guattari's concept of the schizo is addressed to (...)
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  24.  15
    Deleuze Challenges Kolmogorov on a Calculus of Problems.Jean-Claude Dumoncel - 2013 - Deleuze Studies 7 (2):169-193.
    In 1932 Kolmogorov created a calculus of problems. This calculus became known to Deleuze through a 1945 paper by Paulette Destouches-Février. In it, he ultimately recognised a deepening of mathematical intuitionism. However, from the beginning, he proceeded to show its limits through a return to the Leibnizian project of Calculemus taken in its metaphysical stance. In the carrying out of this project, which is illustrated through a paradigm borrowed from Spinoza, the formal parallelism between problems, Leibnizian themes and Peircean rhemes (...)
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  25.  4
    Deleuze, Bergson and Woolf's Monday or Tuesday.John Hughes - 2013 - Deleuze Studies 7 (4):496-514.
    Deleuze's references to Woolf's work, and his work on Bergson, allow for a more far-reaching as well as more nuanced and diverse account of her correspondences with Bergson than have been noted. Her early collection of stories, Monday or Tuesday, reveals a powerful, many-sided metaphysical and aesthetic inspiration that bears out in detailed, various and fundamental ways what can be called the Deleuzian or Bergsonian aspects of Woolf's creativity and style at this crucial phase of her development as a writer.
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  26.  27
    The Creation of the Concept Through the Interaction of Philosophy with Science and Art.Mathias Schönher - 2013 - Deleuze Studies 7 (1):26-52.
    In What Is Philosophy? we find philosophy devised as that power of thinking and creating which, in a division of labour with science and art, creates the concept. This division of labour points to the free interplay of Reason, Understanding and Imagination in Kant's Critique of Judgement and enables us to affirm, without obliterating the differences in kind, the non-hierarchical relationship between the three forms of thought that is asserted by Deleuze and Guattari. However, as powers of thinking and creating, (...)
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  27.  9
    Editorial Introduction: For a Transdisciplinary Practice of Thought.Chryssa Sdrolia, Masayoshi Kosugi & Guillaume Collett - 2013 - Deleuze Studies 7 (2):157-168.
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  28.  9
    Netting Fins: A Deleuzian Exploration of Linguistic Invention in Virginia Woolf's The Waves.Jason Skeet - 2013 - Deleuze Studies 7 (4):475-495.
    Linguistic invention is a key feature of Virginia Woolf's novel The Waves. An exploration of its innovative verbal and syntactic procedures can add to an understanding of Woolf's importance for the philosophical thought of Gilles Deleuze . In A Thousand Plateaus, The Waves is used to exemplify an ontology of becoming. However, in their reference to The Waves, Deleuze and Guattari only draw attention to what they term the ‘vibrations, shifting borderlines’ between and across characters in the novel. Given Deleuze's (...)
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  29.  59
    Dismantling the Face: Pluralism and the Politics of Recognition.Simone Bignall - 2012 - Deleuze Studies 6 (3):389-410.
    Plural expressions of ‘belonging’ in postcolonial and multicultural societies give particular emphasis to a politics of cultural recognition. Within nations, diverse communities call for acknowledgement of their aspirations, for fair representation in public life and for protection of the distinctive cultural practices and beliefs that define and help to sustain minoritarian identities. Recognition is also important for group self-concept and cohesion, and so plays a vital role in the creation of stable platforms for political resistance. This essay explores Deleuze and (...)
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  30.  15
    Beyond Percept and Affect: Beckett's Film and Non-Human Becoming.Colin Gardner - 2012 - Deleuze Studies 6 (4):589-600.
    Film, Samuel Beckett's 1964 short starring Buster Keaton, dubbed by Deleuze as ‘The Greatest Irish Film’, is a seminal text in the latter's cinematic canon as it helps us to extrapolate the transition from the Bergson-based movement-image of Cinema 1 to the Nietzschean time-image of Cinema 2. Film is unique insofar as its narrative traverses and progressively destroys the action-, perception- and affection-images that constitute the movement-image as a whole, using Keaton's body, and more importantly his face, as a means (...)
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  31.  13
    A Crystal-Theatre: Automation and Crystalline Description in the Theatre of Samuel Beckett.Daniel Koczy - 2012 - Deleuze Studies 6 (4):614-627.
    Throughout his cinema studies, Deleuze tends to define and to praise the cinematic in opposition to the theatrical. Cinema, for Deleuze, retains the potential to automate our perception of its images. Further, this capacity allows the cinema to profoundly disrupt the habitual patterns of its audience's thought. This article asks, however, whether Beckett's theatrical practice can be productively analysed through concepts derived from Deleuze's work on the cinema. In Beckett's Play and Not I, we see theatrical productions that strive for (...)
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  32.  12
    Jean-Luc Godard's Film Socialisme and the Pedagogy of the Image.Michael A. Peters - 2012 - Educational Philosophy and Theory 44 (7):681-685.
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  33.  22
    Samuel Fuller's Schizo-Violent Cinema and the Affective Politics of War.Elena Del Rio - 2012 - Deleuze Studies 6 (3):438-463.
    This essay begins by considering Samuel Fuller's 1963 film Shock Corridor as a model of schizo-violence – a disorganised violence that eludes the Oedipal, moralising binary of action and reaction, and instead opens up the violent action to multiple becomings outside Oedipal and nationalistic framings. Through the de-Oedipalisation of the violent events punctuating American history, Shock Corridor performs a schizoanalytic model of desire capable of giving free rein to the force of traumatic affections. The latter part of the discussion situates (...)
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  34.  4
    James Stirling's Architecture and the Post-War Crisis of Movement.Todd Jerome Satter - 2012 - Deleuze Studies 6 (1):55-71.
    Deleuze's cinema project identifies a crisis of movement, action and thought, established initially in the war-devastated spaces of neo-realist cinema. Indirectly these spaces subordinate architecture as the locus of crisis, which only new, temporal artistic practices can avert. However, an architectural model of the smooth and striated, revealing a sophisticated interplay of the two concepts, can reinstall design practice and the intentional built environment as part of a productive and affirmative image of thought. The designs of James Stirling, whose career (...)
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  35.  5
    Introduction: Negotiating the Archival Turn in Beckett Studies.S. E. Wilmer - 2012 - Deleuze Studies 6 (4):585-588.
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  36.  10
    Potentiality as a Life: Deleuze, Agamben, Beckett.Audronė Žukauskaitė - 2012 - Deleuze Studies 6 (4):628-637.
    In Essays Critical and Clinical, Deleuze argues that Beckettian characters usually strive towards becoming imperceptible. This statement immediately poses another question: what is becoming imperceptible and where does it lead? How can we rid ourselves of ourselves? Paradoxically enough, Deleuze states that becoming imperceptible is life. The literal and self-evident meaning of life seems somehow incompatible with the image of dissolving and decaying characters in Beckett's works. Contrary to this self-evidence, the notion of life in Deleuze and Beckett should be (...)
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  37.  27
    Actual Image || Virtual Cut: Schizoanalysis and Montage.Hanjo Berressem - 2011 - Deleuze Studies 5 (2):177-208.
    If a machine is something that cuts into a continuous flow, schizoanalysis can be read, quite literally, as an analysis of cuts. In cinematic registers, it is an analysis of montage. Looking closely at a number of modes and moments of montage in the work of Alfred Hitchcock, this paper shows how his strategies of ‘reciprocally presupposing’ actual image and virtual montage relate to a Deleuzian poetics and politics of the cinema.
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  38.  70
    Desired Machines: Cinema and the World in Its Own Image.Jimena Canales - 2011 - Science in Context 24 (3):329-359.
  39.  22
    A Deleuzian Cineosis: Cinematic Semiosis and Syntheses of Time.David Deamer - 2011 - Deleuze Studies 5 (3):358-382.
    In Cinema 1 Deleuze creates the taxonomy of the movement-image by extending Henri Bergson's account of the sensory-motor process in Matter and Memory through the semiotic system of Charles Sanders Peirce. Through this nexus of Bergson and Peirce, Deleuze can account for each image and sign, their impetus and their relationship to one another. In contrast, the taxonomy of the time-image, the focus of Cinema 2, is given no such genesis. Rather, the images and signs appear in situ, as if (...)
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  40. Art History in the Cinema Age.T. Dufrene - 2011 - Diogenes 58 (3):102-111.
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  41.  51
    Deterritorialisation and Schizoanalysis in David Fincher's Fight Club.David H. Fleming & William Brown - 2011 - Deleuze Studies 5 (2):275-299.
    Taking a schizoanalytic approach to audio-visual images, this article explores some of the radical potentia for deterritorialisation found within David Fincher's Fight Club (1999). The film's potential for deterritorialisation is initially located in an exploration of the film's form and content, which appear designed to interrogate and transcend a series of false binaries between mind and body, inside and outside, male and female. Paying attention to the construction of photorealistic digital spaces and composited images, we examine the actual (and possible) (...)
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  42.  33
    Synaptic Signals: Time Travelling Through the Brain in the Neuro-Image.Patricia Pisters - 2011 - Deleuze Studies 5 (2):261-274.
    This essay presents some thoughts on schizoanalysis and visual culture around the proposition that cinema survives in the digital age as a type of image that, after the movement-image and the time-image, could be called the neuro-image. By considering clinical schizophrenia as ‘degree zero’ of schizoanalysis in a more critical sense, a reading of The Butterfly Effect unfolds the temporal dimensions of schizoanalysis as typical for a definition of ‘the neuro-image’. The argument is that the neuro-image speaks from the (always (...)
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  43.  16
    Introduction: Signatures of the Invisible: On Schizoanalysis and Visual Culture.Phillip Roberts - 2011 - Deleuze Studies 5 (2):151-162.
  44.  67
    The Sublime Conditions of Contemporary Art.Stephen Zepke - 2011 - Deleuze Studies 5 (1):73-83.
    Deleuze's relationship to Kant is intricate and fundamental, given that Deleuze develops his transcendental philosophy of difference in large part out of Kant's work. In doing so he utilises the moment of the sublime from the third Critique as the genetic model for the irruption of the faculties beyond their capture within common sense. In this sense, the sublime offers the model not only for transcendental genesis but also for aesthetic experience unleashed from any conditions of possibility. As a result, (...)
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  45.  9
    James Phillips, Ed. (2008) Cinematic Thinking: Philosophical Approaches to the New Cinema.William Brown - 2010 - Film-Philosophy 14 (1):337-349.
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  46.  8
    Timothy Murray (2008) Digital Baroque: New Media Art and Cinematic Folds.John A. Riley - 2010 - Film-Philosophy 14 (1):422-429.
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  47.  45
    Interstitial Life: Subtractive Vitalism in Whitehead and Deleuze.Steven Shaviro - 2010 - Deleuze Studies 4 (1):107-119.
    Deleuze and Whitehead are both centrally concerned with the problem of how to reconcile the emergence of the New with the evident continuity and uniformity of the world through time. They resolve this problem through the logic of what Deleuze calls ‘double causality’, and Whitehead the difference between efficient and final causes. For both thinkers, linear cause-and-effect coexists with a vital capacity for desire and decision, guaranteeing that the future is not just a function of the past. The role of (...)
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  48.  16
    Speranza, the Wandering Island.Ronald Bogue - 2009 - Deleuze Studies 3 (1):124-134.
    Michel Tournier's novel Friday is the subject of an important essay of Deleuze's, in which he presents the concept of the ‘a priori Other’. Alice Jardine and Peter Hallward have offered critiques of Deleuze via readings of this essay, but neither takes into consideration the full significance of Tournier's novel or Deleuze's commentary. Jardine and Hallward provide divergent and only partial perspectives on Deleuze. If there are several Deleuzes, each defined by a critical point of view, there is also a (...)
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  49.  4
    Touch, Time and Technics.D. Boothroyd - 2009 - Theory, Culture and Society 26 (2-3):330-345.
    The development of immersive media-communication environments, and their theorization in terms of the `haptic', calls for a reconsideration of the relationship between sensuality and the ethics of contact. For the most part, the cultural theorization of the virtual which remains preoccupied with the visual has tended to limit its scope to the paradoxes, politics and ethics of representation. Much of media and cultural studies work, for instance, has adopted, directly or indirectly, the traditional visual and ocularcentric paradigm in its analyses (...)
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  50.  58
    Paris and its Doubles: Deleuze/Rivette.Garin Dowd - 2009 - Deleuze Studies 3 (2):185-206.
    This essay sets out from the premise that the films of Jacques Rivette merit sustained reconsideration in the framework provided by Deleuze's Cinema 2: The Time-Image. In particular it explores the concepts of ‘the powers of the false’ and ‘fabulation’ as ways of engaging with Rivette's cinematic oeuvre, with a particular focus on his Paris-set films. On this basis the article seeks to add to the readings undertaken by Deleuze himself and, in the light of Rivette's cine-thinking, to examine in (...)
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