A severe debate at the importance—and usefulness—of Deleuze’s movie theory

The first new choice of serious stories on Deleuze’s cinema writings in approximately a decade, Afterimages of Gilles Deleuze’s movie Philosophy offers unique essays that assessment the continued value of Deleuze’s movie theories, accounting systematically for the ways that they've got stimulated the research of up to date visible tradition and providing new instructions for learn.

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Additional resources for Afterimages of Gilles Deleuze’s Film Philosophy

Sample text

This univocity, which is in accordance with the “individuating difference” (“A single and same voice for the whole thousand-voiced multiple, a single and same Ocean for all the drops, a single clamor of Being for all beings” [304]), is self-evident in Michaux. ”; Gilles Deleuze, une vie philosophique, ed. Eric Alliez (Le Plessis-Robinson, France: Les Empêcheurs de penser en rond, 1998), 525–36. 2. Image or Time? The Thought of the Outside in The Time-Image (Deleuze and Blanchot) Marie-Claire Ropars-Wuilleumier A Strange Attractor The grand narrative of the cinema that Deleuze proposes is, we know, ruled and turned on its head from the inside by the eternal return of sameness-in-difference (l’éternel retour du même différent).

It is necessary to note that it is no longer a question of time, but of speech, or more precisely, of the rapport between speech and thought, under whose auspices the last three chapters are opened. 14 And the problem this implies is to know how cinema could assume a sensible and counterlinguistic enunciation of thought itself. A new event is outlined here that doubles from the interior the event of the outside—a thought to come that no longer concerns cinema directly, but for which cinema’s aesthetic development serves as a beacon.

Daniel W. Smith and Michael A. Greco (Minneapolis: University of Minnesota Press, 1997), 173; translation modified. 17 Gilles Deleuze, Foucault, trans.  Originally published in Paris by Éditions de Minuit, 1986. , 112. , 123, 130; “an inside space but coextensive with the whole line of the outside. The most distant point becomes interior, by being converted into the nearest: life within the folds. This is the central chamber” (123). Borrowed first from Melville, the image of the central chamber also belongs to Henri Michaux, Life in the Folds: “it’s the blood of memories, of the pierced soul, from the delicate central chamber, struggling in the packing, it’s the reddened water of useless memory”; see Henri Michaux, Darkness: An Henri Michaux Anthology, 1927–1984, trans.

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