Abstract

In Cinema I, and II, Deleuze does an astonishing commentary of the first chapter of Matter and Memory. He perceives in Bergson an innovative theory of the intrinsic dynamism of images that could establish not only a philosophy of cinema but also a new ontology. It is as if Deleuze, in the wake of Bergson, had seen in the 7th art not the opportunity for an aesthetic reflection but rather the occasion of a renewed thought of the immanence. We try here to figure out the range and limits of this Deleuzian interpretation.