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  1. The Neuro-Image: A Deleuzian Film-Philosophy of Digital Screen Culture.Patricia Pisters - 2012 - Stanford University Press.
    Introduction : schizoanalysis, digital screens and new brain circuits -- Schizoid minds, delirium cinema and powers of machines of the invisible -- Illusionary perception and powers of the false -- Surveillance screens and powers of affect -- Signs of time : meta/physics of the brain-screen -- Degrees of belief : epistemology of probabilities -- Powers of creation : aesthetics of material-force -- The open archive : cinema as world-memory -- Divine in(ter)vention : micropolitics and resistance -- Logistics of perception 2.0 (...)
     
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  2.  60
    The Matrix of Visual Culture: Working with Deleuze in Film Theory.Patricia Pisters - 2003 - Stanford University Press.
    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 (...)
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  3.  58
    Synaptic Signals: Time Travelling Through the Brain in the Neuro-Image.Patricia Pisters - 2011 - Deleuze and Guatarri 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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  4.  40
    Heart of the Matter: Bodies Without Organs and Biopolitics in Organ Transplant Films.Patricia Pisters - 2014 - Angelaki 19 (4):23-36.
    :In this essay I will look at four recent films that have organ transplantations “at their heart”: 21 Grams, L'Intrus, Dirty Pretty Things and Heart of Jenin. Each film in its own way shows how Nancy's concept of the intruder balances in a different dynamics between biopolitical and biophilosophical concerns and proposes in various ways a changed concept of sacrifice, transforming sacrifice from religious offering into political or ethical resistance and allowing a-religious strivings to persist.
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  5.  11
    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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  6.  65
    Flashforward: The Future is Now.Patricia Pisters - 2011 - Deleuze and Guatarri Studies 5 (Suppl):98-115.
    In The Future of the Image (2007) Jacques Rancière states that the end of images is behind us. He argues for an aesthetics of the image that acknowledges the continuing power of images as educating documentations of traces of history, as directly affecting interruptions, and as open-to-combining signs of the visible and the sayable ad infinitum. But does Rancière's claim also concern the future of cinema? His cinematic references, in a Deleuzian sense, are mostly to modern time-images. Is the future (...)
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  7.  15
    The Filmmaker as Metallurgist: Political Cinema and World Memory.Patricia Pisters - 2016 - Film-Philosophy 20 (1):149-167.
    Compared to earlier waves of political cinema, such as the Russian revolution films of the 1920s and the militant Third Cinema movement in the 1960s, in today's globalized and digital media world filmmakers have adopted different strategies to express a commitment to politics. Rather than directly calling for a revolution, ‘post-cinema’ filmmakers with a political mission point to the radical contingencies of history; they return to the archives and dig up never seen or forgotten materials. They reassemble stories, thoughts, and (...)
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  8.  27
    Introduction: The Smooth and the Striated.Patricia Pisters & Flora Lysen - 2012 - Deleuze and Guatarri Studies 6 (1):1-5.
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  9.  19
    Logistics of Perception 2.0: Multiple Screen Aesthetics in Iraq War Films.Patricia Pisters - 2010 - Film-Philosophy 14 (1):232-252.
    To develop my arguments about this revision of the logistics ofdisappearance, I will turn to several recent Iraq War films, look at thedifferent types of screens they present and investigate their aestheticdimensions and ethical implications. Among the multiple screens present inthese films, the video war diaries made by the soldiers at the front are mostsalient. These diaries will be an important focus of my analysis of acontemporary logistics of perception, which, following the implication ofWeb 2.0 applications, I will call the (...)
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  10.  19
    The Possibilities of Immanence.Patricia Pisters - 1999 - Film-Philosophy 3 (1).
    'Gilles Deleuze: A Symposium' Edited by Mike Fetherstone _Theory, Culture and Society_, vol. 14 no. 2, May 1997 ISSN 0263-2764 87 pp.
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  11.  4
    Deep Blue Geomediations: Following Lapis Lazuli in Three Ecological Assemblages.Patricia Pisters - 2018 - Substance 47 (2):36-58.
    Stones, like us, stand at the intersection of countless lines crossing one another and receding to infinity, at the center of a field of forces too unpredictable to be measured…On my desk, next to my laptop, a small piece of lapis lazuli. My eye is captured by the intense blue from its most important component, the mineral lazurite. The stone also contains white calcite specks and some metallic glistering from its pyrite elements. Looking at the play of colors, feeling the (...)
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  12.  2
    The Neuro-Image. Alain Resnais's Digital Cinema Without the Digits.Patricia Pisters - 2011 - Zeitschrift für Medien- Und Kulturforschung 2 (2):23-38.
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  13.  7
    Violence and Laughter: Paradoxes of Nomadic Thought in Postcolonial Cinema.Patricia Pisters - 2010 - In Simone Bignall & Paul Patton (eds.), Deleuze and the Postcolonial. Edinburgh University Press. pp. 201.
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  14. After Poststructuralism - Transitions and Transformations. The History of Continental Philosopy.Rosi Braidotti, Patricia Pisters & Alan D. Schrift (eds.) - 2010 - Acumen; Chicago University Press.
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  15. Down by Law: Revisiting Normativity with Deleuze.Patricia Pisters, Rosi Braidotti & Alan D. Schrift (eds.) - 2012 - Bloomsbury Academic.
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  16. New Subjectivity in Cinema: The Vertigo of Strange Days.Patricia Pisters - 2000 - In Willem van Reijen & Willem G. Weststeijn (eds.), Subjectivity. Rodopi.
     
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