HansaThapliyal at 04:56, 26 February 2012

2012-02-26T04:56:30Z

HansaThapliyal at 04:55, 26 February 2012

2012-02-26T04:55:33Z

Show changes

Thirdpoliceman007 at 07:00, 25 February 2012

2012-02-25T07:00:31Z

Show changes

@@ Line 12: / Line 12: @@
 "Existing not as a subject but as a work of art...."[1]
 Gilles Deleuze, in his two books on film, Cinema 1: The Movement-Image and Cinema 2: The Time-Image, proposes a revolutionary approach to film theory. Drawing on Deleuze's own philosophy of repetition and difference and the work of Henri Bergson, the Cinema books extend these theories to foreground those aspects that are most essential to the medium: that film unfolds in time, and is comprised of ever-differentiating planes of movement. Deleuze's writings as a whole resonate with correspondences between concepts of transformation, difference, and the forces of impersonal time. Bergson's work is consistent with the thrust of this project, so Deleuze's exploration of Bergson in this context seems, on the one hand, unquestionably valid. In addressing the cinema, however, Deleuze transposes these theories, which are inherently bound up in the shifting and unique movements of life, and uses them to discuss the mechanized and standardized movements of film, a means of reproducing or representing that life.
- How are we to account for Deleuze's or Bergson's theories of temporality, both based in philosophies of life, creation, and difference, when confronted with an aesthetic object such as film: a fixed, repeatable representation? Exploring the larger processes that drive Deleuze's work as a whole, one is faced with perhaps a more fundamental question: why can or should one use Deleuze to think about film? What potentials does Deleuzian theory offer to those who work on film, and what implications will his work have for the field of film theory?
+How are we to account for Deleuze's or Bergson's theories of temporality, both based in philosophies of life, creation, and difference, when confronted with an aesthetic object such as film: a fixed, repeatable representation? Exploring the larger processes that drive Deleuze's work as a whole, one is faced with perhaps a more fundamental question: why can or should one use Deleuze to think about film? What potentials does Deleuzian theory offer to those who work on film, and what implications will his work have for the field of film theory?
 To begin mapping these implications, I will first examine what might appear to be a contradiction in Deleuze's approach to film. He calls upon Bergson to address the cinema, while Bergson himself used the medium as a model for the forces of rationality that immobilize and fragment time. I will argue, however, that there is no contradiction between Deleuze's and Bergson's approaches when we view film not as a model for perception, nor a reflected image of reality, but as a unique image with its own duration. What this seeming conflict points to is at the heart of the problem of representation (as concept and in practice). At stake are not only all theories that address "the arts," but larger questions regarding the nature of the real. The key to unraveling this problem lies in the complex understanding of time that Bergson proposes. By using this theory to re-evaluate cinema, Deleuze does not misconstrue the mechanisms of film. Instead, following Bergson, Deleuze further expands our understanding of where the real lies, reinterpreting the way in which we understand the temporal nature of film. The result is a fundamental destabilization of the very idea of a representation, displacing notions of signification and association in favor of acts of creation and images of thought.

Time image - Revision history

HansaThapliyal at 04:56, 26 February 2012

HansaThapliyal at 04:55, 26 February 2012

Thirdpoliceman007 at 07:00, 25 February 2012