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Related: film theory - Gilles Deleuze
The Matrix of Visual Culture: Working With Deleuze in Film Theory (2003) - Patricia Pisters [Amazon.com] [FR] [DE] [UK]
Profilebio: Patricia Pisters is assistant professor film- and television studies at the University of Amsterdam. She has just finished her PhD entitled: From Eye to Brain--Gilles Deleuze: Refiguring the Subject in Film Theory. Co-authored with Hannah Bosma, she wrote Madonna (forthcoming, Amsterdam, Prometheus 1998).
abstract: This paper argues that the philosophy of Gilles Deleuze as presented in The Movement-Image and The Time-Image offers the opportunity to theorize a continuity between analogue and digital cinema. By making a connection between Eisenstein's theory on animation and Deleuze's film philosophy a few concepts are highlightened that can be useful in respect to the future of cinema. Especially the distinction between the virtual and the actual, and the idea of 'the power of the false' seem to provide the opportunity to 'overcome information'. --http://enculturation.gmu.edu/2_1/toc.html#pisters [Jun 2005]
From Eye to Brain - Refiguring the Subject in Film Theoryby: Patricia Pisters
"Entre les cris de la douleur physique et les chants de la souffance métaphysique, comment tracer son mince chemin stocien, qui consiste à être digne de ce qui arrive, à dégager quelque chose de gai et d'amoureux dans ce qui arrive, une lueur, une rencontre, un événement, une vitesse, un devenir?" Gilles Deleuze & Claire Parnet
"There may be nothing new under the sun, but permutation of the old within complex systems can do wonders." Stephen Jay Gould
"When I first saw the cinematograph I realised it could offer something new to philosophy. The cinema provides us with an understanding of our own memory. Indeed we could almost say that cinema is a model of consciousness itself. Going to the cinema turns out to be a philosophical experience." --Henri Bergson
"The Kino is a vulgar modern entertainment and I doubt if it can tell us anything serious about the modern condition." --Sigmund Freud
In November 1995, just after the death of French philosopher Gilles Deleuze, a conference entitled "Deleuze Sehen. Im Kino. Im Bild. Im Denken" was organized in Vienna's French Cultural Institute. The reason for the event was the celebration of the centennial of cinema. On the second day of the conference a remarkable thing happened: the hundred years of cinemaconference around Gilles Deleuze had to move from the beautiful large 'Red Salon' to the much smaller secretary's office where participants barely fitted in. In the Red Salon another event took place that day: the celebration of the centennial of psychoanalysis, organized by the Sigmund Freud Association. In the common entrance hall Freud's books and Deleuze and Guattari's Anti-Oedipus were lying brotherly together on the reading table. Besides the funny paradox of having the works of these apparently opposed thinkers combined in one space, it made me wonder if it was not significant that in respect to the celebration of cinema, both Freud and Deleuze were present.
It has often been said that the relationship between cinema and psychoanalysis is not coincidental, because both emerged around the same time. Although Freud himself didn't consider cinema of any value, psychoanalysis has greatly influenced modern film theory. Ever since in the seventies feminist film theory joined and critiqued the concerns of the psychosemiotic apparatus theory, psychoanalysis's impact on film theory is undeniable. However, at the same time that Freud wrote his first case studies and cinema projected its first images, another set of ideas was first published: Henri Bergson's Matter and Memory. According to Bergson cinema provided a model of human consciousness and the experience of time and memory. But it was not until almost a century later, with Gilles Deleuze's Cinema 1: The Movement-Image and Cinema 2: The Time-Image that Bergson's philosophical ideas where taken up in film theory. -- http://cf.hum.uva.nl/~ftv/faculty/Patricia/deleuze.html [Nov 2004 - offline]
The Matrix of Visual Culture: Working With Deleuze in Film Theory (2003) - Patricia Pisters
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.
Statistically Improbable Phrases (SIPs):
modern political cinema, camera consciousness, happy despair, acousmatic voice, becoming animal, conceptual persona, segmental line, passive affects, rhizomatic network, cinematographic apparatus, audiovisual culture, motor situation, horror cinema, cinematographic image, active affects, double becoming, oral mother, political film, pure becoming, bad encounters, molecular line, aesthetic figures, sad affects, sound situation, crystal image
see also: visual culture - culture theory - representation - film theory - Patricia Pisters
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