Gilles Deleuze published two radical books on film: Cinema 1: The Movement-Image and Cinema 2: The Time-Image. Engaging with a wide range of film styles, histories and theories, Deleuze's writings treat film as a new form of philosophy. This ciné-philosophy offers a startling new way of understanding the complexities of the moving image, its technical concerns and constraints as well as its psychological and political outcomes. Deleuze and Cinema presents a step-by-step guide to the key concepts behind Deleuze's revolutionary theory (...) of the cinema. Exploring ideas through key directors and genres, Deleuze's method is illustrated with examples drawn from American, British, continental European, Russian and Asian cinema. Deleuze and Cinema provides the first introductory guide to Deleuze's radical methodology for screen analysis. It will be invaluable for students and teachers of film theory, film history and film forms. (shrink)
“Feminicity” is the term for a predicate register that enables feminist work be accounted for as relational “active-points” that collectively can be seen through what they have achieved. But going further, it marks where those active-points contribute to the dynamic field of feminist epistemologies and where change occurs. This article contributes to my larger project’s discussion of this concept. Broadly, feminicity argues that the active-points of feminist practices need to be understood within their situated fields as materialist informatics. In the (...) digital era, examples of the affects of digital feminicity are as identified in works such as those by Wajcman ; Haraway, Hayles, VNSMatrix, Adam, Plant. Collectively, such authors and artists opened a creative, and sometimes radical discourse of the digital field as multidirectional, multidimensional, multitemporal platform of “gender actions”. Taken as a predicated field sense of the term “predicate”), this work contributes to the feminist materialist reappraisal of feminist epistemology, and larger radical feminist deconstructive projects. Thus conceived, the genealogy of digital feminicity problematizes the monopolitical terms of feminism in its collation of actions, enabling a re-situation of feminist practices as positive material interventions and expressions of the ontological constitution of the political sphere. Feminicity does not propose a chronological account of the active-points, but processually and systemically addresses the terms of generational epistemological political change. This article describes the ways in which a materialist constructed register – “feminicity”– can be used to think about encounters between the domains of gender, politics and technology, as manifested by materialist informatics. For reasons of brevity, this article focuses on just two aspects of feminicity: the terms of predication of the female as gendered, and the issue of the image, as digital informatics, comprised of activitypoints of feminist practice. Consequently, these are measurable and offer practical resources for the general problem of gendering politics that operate in governance, resource distribution and a non-equal opportunity social/cultural power structure, under which minorities are disadvantaged. Feminist practice here refers to forms produced through feminist activities, ie, forms generated through relations with the matter of life through specific modalities of needs-based practices. (shrink)
An ideal introduction for students, Film, Theory and Philosophy brings together leading scholars to provide a clear, detailed overview of the key thinkers who have shaped the field of film philosophy. From continental philosophers to analytical philosophers, film-makers, film reviewers, sociologists, and cultural theorists, the essays reveal how philosophy can be applied to film analysis and how film can be used to illustrate philosophical problems. But most importantly, the essays explore how cinema has shaped contemporary philosophy and how philosophy has (...) led to a reappraisal of film. This collection will prove an invaluable reference and guide to readers interested in a deeper understanding of the issues and insights presented by the philosophy of film. (shrink)
Film Theory addresses the core concepts and arguments created or used by academics, critical film theorists, and filmmakers, including the work of Dudley Andrew, Raymond Bellour, Mary Ann Doane, Miriam Hansen, bell hooks, Siegfried Kracauer, Raul Ruiz, P. Adams Sitney, Bernard Stiegler, and Pier Paolo Pasolini. This volume takes the position that film theory is a form of writing that produces a unique cinematic grammar; and like all grammars, it forms part of the system of rules that govern a language, (...) and is thus applicable to wider range of media forms. In their creation of authorial trends, identification of the technology of cinema as a creative force, and production of films as aesthetic markers, film theories contribute an epistemological resource that connects the technologies of filmmaking and film composition. This book explores these connections through film theorisations of processes of the diagrammatisation of cinematic matters of the filmic world. (shrink)
The question of affect emerges in the daily realm of routine, and survival; of your physical and existential existence. No matter what the situation or condition in life, as observed, different systems are reactive and generative, corruptible and powerful, colonisable and subversive; that is to say, all systems are subject to affects as much as they are affective, and generative of positive and negative affects within and of a system. This proposition can be tested against whatever the degree of sentience (...) or sensitivity that a system’s responsive domains or bodies may hold. This Spinozist principle of understanding – that every body has the capacity to be affected in positive and or negative ways – provides one of the core axioms for any affect ecology. But if affect is to be taken as more than an indicator of change – a barometer of the change of conditions for a system – then how do we describe affect itself? How can the changes that the notions of affect seek to express be registered or measured? How can affect be situated by and generative of a system simultaneously? This question has long been the subject of Marie-Luise Angerer’s extensive research into and analysis of the conception of affect. (shrink)
Modal logics support philosophy, providing means to organise information, and to think and act in response to abstract concepts and to real conditions. In its organisation, the modal is generative of the ethics of any given system. Feminist new materialist practices require us to consider ethics when generated by technological rather than theological modalities.