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 of affects and forces. This book presents a model, as well as many concrete examples, of how to work with Deleuze in film theory. It asks questions about the universe as metacinema, subjectivity, violence, feminism, monstrosity, and music. Among the contemporary films it discusses within a Deleuzian framework are Strange Days, Fight Club, and Dancer in the Dark.
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“...a rigorous, progressive, and thought-provoking study.”—Leonardo Reviews
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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 of affects and forces. This book presents a model, as well as many concrete examples, of how to work with Deleuze in film theory. It asks questions about the universe as metacinema, subjectivity, violence, feminism, monstrosity, and music. Among the contemporary films it discusses within a Deleuzian framework are Strange Days, Fight Club, and Dancer in the Dark.
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Inside This Book
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First Sentence:
Hitchcock's fantasy about directly entering people's brains seemed futuristic and absurd in the 1950s when he expressed these words to his scriptwriter, Ernest Lehman. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
territorializing forces, modern political cinema, camera consciousness, happy despair, conceptual persona, passive affects, segmental line, rhizomatic network, cinematographic apparatus, audiovisual culture, real milieu, horror cinema, oral mother, political film, cinema books, cinematographic image, active affects, acoustic mirror, pure becoming, bad encounters, aesthetic figures, sad affects, territorial forces, molecular line, sound situation Key Phrases - Capitalized Phrases (CAPs): (learn more)
Strange Days, Can't Sleep, Thousand Plateaus, Pulp Fiction, Nathalie Granger, Touki Bouki, Marguerite Duras, Gilles Deleuze, Fight Club, Anton Saitz, Barbara Creed, Laura Mulvey, Lenny Nero, Michel Chion, Rear Window, Tank Girl, Virginia Woolf, Breaking the Waves, Cinema's Politics of Violence, Humpty Dumpty, Second World War, Shere Khan, The Idiots, Third World, Donna Haraway New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Hitchcock's fantasy about directly entering people's brains seemed futuristic and absurd in the 1950s when he expressed these words to his scriptwriter, Ernest Lehman. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
territorializing forces, modern political cinema, camera consciousness, happy despair, conceptual persona, passive affects, segmental line, rhizomatic network, cinematographic apparatus, audiovisual culture, real milieu, horror cinema, oral mother, political film, cinema books, cinematographic image, active affects, acoustic mirror, pure becoming, bad encounters, aesthetic figures, sad affects, territorial forces, molecular line, sound situation Key Phrases - Capitalized Phrases (CAPs): (learn more)
Strange Days, Can't Sleep, Thousand Plateaus, Pulp Fiction, Nathalie Granger, Touki Bouki, Marguerite Duras, Gilles Deleuze, Fight Club, Anton Saitz, Barbara Creed, Laura Mulvey, Lenny Nero, Michel Chion, Rear Window, Tank Girl, Virginia Woolf, Breaking the Waves, Cinema's Politics of Violence, Humpty Dumpty, Second World War, Shere Khan, The Idiots, Third World, Donna Haraway New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
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This book cites 100
books:
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9
books
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- Pulp Fiction: A Quentin Tarantino Screenplay by Quentin Tarantino on 7 pages
- Dancer in the Dark by Lars Von Trier on 7 pages
- Narrative, Apparatus, Ideology by Philip Rosen on 6 pages
- The Brain Is the Screen: Deleuze and the Philosophy of Cinema by Gregory Flaxman on 6 pages
- Gilles Deleuze: Vitalism and Multiplicity (Modern European Thinkers) by John Marks on 6 pages
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- Discern(e)ments: Deleuzian Aesthetics--Esthetiques deleuziennes (Faux Titre 251) by Frans-Willem Korsten in Back Matter (1), and Back Matter (2)
- Masculinity, Anti-semitism and Early Modern English Literature: From the Satanic to the Effeminate Jew (Women and Gender in the Early Modern World) by Matthew Biberman in Back Matter (1), and Back Matter (2)
- The Event and Its Terrors: Ireland, Famine, Modernity (Cultural Memory in the Present) by Stuart McLean in Back Matter
- The Antigone Complex: Ethics and the Invention of Feminine Desire (Cultural Memory in the Present) by Cecilia Sjoholm in Back Matter
- Deleuze, Cinema and National Identity: Narrative Time in National Contexts by David Martin-Jones in Back Matter
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