Cinema After Deleuze

A clear and concise overview of and introduction to Deleuze's theories of cinema.

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, Media and Philosophy.

Deleuze's two Cinema books explore film through the creation of a series of philosophical concepts. Not only bewildering in number, Deleuze's writing procedures mean his exegesis is both complex and elusive. Three questions emerge: What are the underlying principles of the taxonomy? How many concepts are there, and what do they describe? How might each be used in engaging with a film?David Deamer's book is the first to fully respond to these three questions, unearthing the philosophies inspiring Deleuze's classifications, exploring every concept and reading a film for each. Clearly and concisely mapping the Cinema books for newcomers to Deleuzian film studies, Deamer also opens up new areas of enquiry for expert readers.

Discusses the theoretical implications of the cinematographic image based on Henri Bergson's theories

2008 Outstanding Academic Title, Choice Magazine In recent years, the recognition of Gilles Deleuze as one of the major philosophers of the twentieth century has heightened attention to his brilliant and complex writings on film. What is the place of Cinema 1 and Cinema 2 in the corpus of his philosophy? How and why does Deleuze consider cinema as a singular object of philosophical attention, a specific mode of thought? How does his philosophy of film combine and further his approaches to time, movement, and perception, and how does it produce an escape from subjectivity and a plunge into the immanence of images? How does it recode and utilize Henri Bergson's thought and André Bazin's film theory? What does it tell us about perceiving a world in images—indeed about our relation to the world? These are the central questions addressed in Paola Marrati's powerful and clear elucidation of Deleuze's philosophy of film. Humanities, film studies, and social science scholars will find this book a valuable contribution to the philosophical literature on cinema and its pertinence in contemporary life.

Film theory has for so long been concerned with sociological, empirical and psychoanalytic approaches that its place within our aesthetic sensibilities seems to have been forgotten.Deleuze and Cinema aims to bring back debates about film as an art form - as part of an aesthetic process which incorporates the 'bodies' of our material, technological and molecular worlds. While much film theory has looked at desire in terms of (visual and spectator) pleasure, Barbara Kennedy suggests, in this provocative new study, that these different perceptions of 'body' are responsible, as well as the brain/mind, for the ways in which visual elements of colour, movement, rhythm and sensation are acquired within, through and beyond our consciousness.Film is visceral, vital and dynamic, and wider frameworks of understanding are needed to explain these aesthetic resonances. Deleuze and Cinema asks: how can we begin to understand the cinematic experience as one of material capture, processuality and movement - as opposed to a spectator/text relationship - where desire and pleasure are part of a complex 'aesthetics of sensation'?Through discussions of Orlando, The English Patient, Romeo and Juliet, Strange Days and Leon the book offers a new and creative collusion between Deleuzian philosophy - specifically Deleuze's ideas about desire, pleasure, sensation, affect and 'becoming-woman' - and contemporary film studies.

Song from the Land of Fire explores Azerbaijanian musical culture, a subject previously unexamined by American and European scholars. This book contains notations of mugham performance--a fusion of traditional poetry and musical improvisation--and analysis of hybrid genres, such as mugham-operas and symphonic mugham by native composers. Intimately connected to the awakening of Azerbaijanian national consciousness while ruled by the Russian Empire and the USSR, mugham is inseparable from the contexts in which it is produced and heard. Inna Naroditskaya provides the historical and political contexts for mugham and profiles the musicians, musical genealogies, and musical institutions of Azerbaijan.

A clear and concise overview of and introduction to Deleuze's work in relation to philosophical inquiry.

Cinema After Deleuze offers a clear and lucid introduction to Deleuze's writings on cinema which will appeal both to undergraduates and specialists in film studies and philosophy. The book provides explanations of the many categories and classifications found in Deleuze's two landmark books on cinema and offers assessments of a range of films, including works by John Ford, Sergei Eisenstein, Alfred Hitchcock, Michelangelo Antonioni, Alain Resnais and others. Contemporary directors such as Steven Spielberg, Lars von Trier, Martin Scorsese and Wong Kar-wai are also examined in the light of Deleuze's theories, thus bringing Deleuze's writings on cinema right up to date. Cinema After Deleuze demonstrates why Deleuze is rightly considered today to be one of the great philosophers of cinema. The book is essential reading for students in philosophy and film studies alike.