Customer Reviews:
One of the best books on cinema.......2000-06-05
Although Deleuze mentions that this bookfs aim is to make a typology on cinema, for readers, it will be the object of thought more than that. In this book, Deleuze considers many films in which time is not subordinate to movement any longer (the time-image). His way of developing theory is like Bergsonfs one on time and memory, but his theory of time has variations that are reflected in various films and becomes a profound notion of the world with dynamic extension. Deleuze proposes us not only new concepts through films but also the question: What is the world? Deleuze creates a system on cinema as same as he analyzes clearly what is new and what is different from the past films in films of neo-realism or the new wave. While many people have mentioned to genres in films, Deleuzefs analysis of the border between the genres is one of the most precise.
If you had gCinema 1: The Movement-Imageh, this book would be more interesting for you because you could compare the two books. Moreover, this book treats so many films that you must find ones you have ever seen, which makes this book more fascinating.
Average customer rating:
- Definitely a Classic! a must read!!!
- A must film and media theorists.
- The finest reflection on cinema.
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Cinema 1: Movement-Image
Gilles Deleuze
Manufacturer: University of Minnesota Press
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Cinema 2: The Time-Image
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Matter and Memory
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What Is Cinema? Vol. 1
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Difference and Repetition
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A Thousand Plateaus: Capitalism and Schizophrenia
ASIN: 0816614008 |
Customer Reviews:
Definitely a Classic! a must read!!!.......2007-06-20
Our Hero Deleuze is back at it once again on his Bergsonian quest to conquer the movement-image.This time descending light from the plane of immanence will guide our hero through phenomenological blunders. Wow! what an amazing book! Deleuze has done it again, I mean talk about the varities! Perception-Image, Affect Image and Action Image. It totally clairfies any misconsceptions about the liquid, gasous and solid states. If there is such thing as a rhizomatic world, could the Time-Image be a prequel? Deleuze is smoking!!!!
A must film and media theorists........2003-05-31
The above review of this book does a great job already, so I will try to complement it as best I can. Deleuze is a difficult thinker for newcomers. His ideas tend to refer to one another and have developed into a complex network of concepts over the course of his writings. The good news is that Deleuze is drawing an immense amount of interest in the US and UK now.
Deleuze sets out in the cinema books to create a theory of film and the image that stands in sharp contrast to the film theory we're most accustomed to. Deleuze does not accept that narrativity is a given in film. In fact, he wants to find a way of appreciating and describing what distinguishes film from language and narrative systems. For Deleuze, the moving image is not a system of reference. One doesn't refer to something through a segment of film. The filmic medium is direct, not referential.
Cinema 1 is thus a look at how the early cinema learned to produce the "movement image." It's a review of "auteur" film-makers and their experiments with the medium (in addition to those mentioned above are Welles, Godard, Eisenstein, Lang, Resnais, Hitchock...) to produce perception, affect, and action.
He contrasts montage with mise-en-scene. He shows how action corresponds to situations, either responding to situations or modifying them. He describes the discovery of depth of field, and use of affect in close ups and still images, the importance of shot and reverse shot sequences, and movement within the scene vs of the camera. He shows how pre-war film maintained a commitment to the whole. Characters' actions were motivated by situations, and films as a whole hung together.
The book concludes with Hitchcock's invention of the audience as a third term in the filmic experience: subject, object, audience. Audiences complete Peirce's sign system (firstness, secondness, thirdness) because they interpret the film. Indeed, Hitchcock's art was in showing the audience what the character would only discover later, and in making his films into logical puzzles rather than whodunits.
A dazzling book, I had to read it twice, and many of the films referenced won't be on dvd for years....
The finest reflection on cinema........1996-12-12
Gilles Delueze creates in his books on cinema a taxonomy, an attempt at the
classification of cinematic images and signs. This classification is an insightful
elaboration on Bergson's theses on movement and on Pierce's signs system. If
this taxonomy is the core of the "movement-image" book, its heart is a brilliant
and systematic history of aesthetic forms of the classical cinema. Some of the more
interesting ideas are the two poles of the close-up, Goethe's theory of color and German
expressionism, the space in Bresson, an account of Bunuel as naturalist, the difference
between John Ford and Howard Hawks, the crisis of the action-image and the essence
of comedy as in Lubitsch, Chaplin and Keaton. Nevertheless, it is not a book about
cinema, nor is it a book of film history. It is the practice of concepts. Deleuze writes:
"Philosophical theory is itself a practice, just as much as its object. It is no more abstract
than its object...So that there is always a time, midday-midnight, when we must no
longer ask ourselves 'What is cinema?' but 'What is philosophy?'". Only Deleuze, one
of the greatest minds of our Century, could answer this question with so much elegance,
profundity, ingenuity and mystical charm.
Book Description
This is the first critical introduction to Difference and Repetition, Gilles Deleuze's most important work of philosophy and one of the most significant texts of contemporary philosophy.
In offering a critical analysis of Deleuze's methods, principles and arguments, the book enables readers to engage with the revolutionary core of Deleuze's philosophy and take up favorable or critical positions with respect to its most innovative and controversial ideas. The book will also help to extend Deleuze's work to philosophers working in the analytic tradition.
Customer Reviews:
It could be better..........2005-03-11
To be perfectly honest, this book helped to reinvigorate an interest in Difference and Repetition, a book that I had formerly passed over because on first read I found the contents inaccessible, at least at the time. And - in all fairness - Williams' book offers a number of hints that helped me to understand Deleuze's magnum opus. But that is really all this book has to offer: hints. As one reviewer pointed out, it can work to Williams' detriment that he insists on keeping a constant dialogue with analytical philosophy. I would go one step further and say that Williams' habit of repeating the same complaints which would-be analytical philosophers might raise, and always deferring any lucid answer to these questions, borders on tedium. This is not the only thing that is tedious about this work, as one quickly becomes aware after sampling just a bit of the prose. For instance, Williams often interrupts his train of thought with bizarre and unhelpful remarks (e.g. "Who are you stranger? What reasons brought you here?").
If you're looking for a clarification of Deleuze's chef d'oeuvre, this book will help to some degree. If you don't feel like weeding through the tedium of "Gilles Deleuze's Difference and Repetition" I recommend looking elsewhere - Manuel Delanda's "Intensive Science and Virtual Philosophy" is a nice alternative.
Probably as good as it's going to get.......2004-05-11
For everyone frustrated and defeated by Deleuze's masterwork, you now have before you a way to tame the beast in the form of this strange little book. Williams is pretty good on most points, and he does his darnedest to clarify D&R without caricaturing it. I think he succeeds, and this despite the fact that I would never read, or recommend that someone read, Deleuze's work as he has done. By which I mean: more or less in constant dialogue with the so-called analytic tradition. Williams not only develops Deleuze's ideas along those lines, but builds a more or less perpetual opposition to Deleuze by posing the most likely objections from the analytic camp. In the end, Deleuze wins--as well he should in a book on a book containing all the reasons why Deleuze thought he won--but, I just kept feeling the question pressing...at what cost? Might it not be more encumbent upon us left the task of making good on Deleuze's legacy to resist fusing that legacy and judging it in tandem with a tradition that he always sought to distance himself from? I think so, but as I am not master of all things, I'll go ahead and recommend this book on the strength of what it does quite capably: give a clear and sustained account of the principles underlying D&R; approach the work in a critical spirit that never reverts into blind attack or adulation; and, most importantly for me, keeps it concise, not getting lost in the infinite texture and detail of the work, and sticking to the "big" points. After all, this is an introduction to a great work of philosophy and not a key to scripture, and Williams does us all a great service by leaving most of the work up to us---he just ensures that we can begin to read the thing!!!
Pretty dang good.
Book Description
Gilles Deleuze has produced some of the most important--and most formidable--theory on cinema to appear in the last half-century. Deleuze on Cinema provides a thorough and reliable guide to Deleuze's thought on the art of film, elucidating in clear language the shape and thrust of Deleuze's arguments found in his influential books on cinema.
Customer Reviews:
Not a Deleuze for Dumbies book, but insightful and well written.......2007-09-27
Bogue's three-volume series on Deleuze and the arts is a welcome addition to Deleuze's daunting body of work. Although I haven't finished the book, I've read enough to offer a few comments that may help you decided if "Deleuze on Cinema" is right for you.
First of all, as the previous reviewer notes, this is not "Deleuze-made-easy" or anything close. Bogue assumes a small amount of background knowledge that most will have if they're at all familiar with Deleuze. The difficulty comes in Bogue's compact summations of philosophies (other than Deleuze, Bergson is the big one). You may be familiar with some Deleuzian concepts, but Bergson will present a whole new challenge.
I found Bogue's explanations of Bergson and Deleuze's reading of Bergson to be more difficult than I would like. The topic is, of course, complex, but I have seen authors greatly increase the level of approachability in thinkers from Lacan to Adorno. The book is ostensibly a resource for introducing Deleuze's concepts of cinema, but it is more like a condensed version - fewer words and more direct, but difficult all the same.
The best parts come at the end of the long theoretical sections where Bogue puts Deleuze and Bergson into more intuitive examples. If you can make it through the theory, the examples tie the ideas together sufficiently, but understanding will not arrive without considerable work on the part of the reader.
My main comment is, this is not significantly easier than reading Deleuze directly. It's a high quality, detailed study of Deleuze and the cinema and accordingly, it is not going to reveal its secrets easily.
If you're already familiar with Deleuze or have a strong interest in his work, this is a great find. If you're new to Deleuze or film theory in general, this is not the best place to start, in my opinion. There are a number of resources that will give the necessary background before committing to this text such as the Deleuze Dictionary. Bogue's style is very clear and precise and my understanding has increased significantly since beginning. Just be aware that he doesn't make Deleuze "easy".
learn it....love it....LIVE IT!.......2004-04-14
My friends all think I hate movies. This isn't true, but I admit that I'm often reluctant to see them--like most important artistic media (contemporary poetry and the plastic arts, to say nothing of ubiquitous pop music), there is too much worthless drivel to wade through.
I've always held that cimema can be a powerful artistic medium, but until recently I was much too ignorant of classic films. A life-long student of literature, I decided to educate myself in 'reading' films. This book is where I started--correction: this book, my local dvd rental store, and a friend to watch some great movies with.
I'd known of Bogue's three-volume study of Deleuze and the Arts (see my review of Bogue's _Deleuze on Music, Painting, and the Arts_), so after my cinema-knowledgeable friend drew up a list of the 50 most important classic films I needed to know, I ordered a copy of _Deleuze on Cinema_.
This book, like the others in the series, is not a "Deleuze for Dummies." Bogue--like Deleuze--assumes quite a bit of knowledge on the reader's part. This is refreshing. It's a supplement--something to read in preparation for watching the movies as well as for making sense of them after the show's over. Just paging through the ample index will offer a taste of what's offered: directors include Hitchcock, Resnais, Eisenstein, Robbe-Grillet, Bunuel, Godard, Bresson, Kurosawa, and Antonioni, among others.
Take this insightful passage on Orson Welles as one example of the clarity and brilliance of Bogue on Deleuze: "In each of Welles' films, sheets of the past coexist within a transpersonal memory, but Deleuze argues as well that in individual shorts one can actually see characters inhabiting a region of time....Deleuze observes that others before Welles had used deep focus shots, but usually with the planes of the image remaining relatively isolated from one another. What Welles achieves by contrast is a communication and interpenetration of foreground, middle ground, and background, each shot a dynamic space-in-depth" (pgs 142-43).
This book will be of essential interest to students and lovers of Deleuze, film, literature--and especially to those who, like me, need a little extra meat and potatoes with their buttered popcorn.
Customer Reviews:
What to read to read Deleuze.......2001-05-01
This book is well worth the time for anyone who cares about philosophy, who does film studies, or who simply wants to understand Deleuze. The opening introduction to Deleuze's film-philosophy is the best I've come across; the essays are superb (see, especially, those by Lambert, Marks, Canning, Martin, Alliez, and Conley); and the concluding interview with Deleuze is surprisingly lucid. This ought to be required reading.
Book Description
Although Gilles Deleuze is one of France’s most celebrated twentieth-century philosophers, his theories of cinema have largely been ignored by American scholars. Film theorist D. N. Rodowick fills this gap by presenting the first comprehensive study, in any language, of Deleuze’s work on film and images. Placing Deleuze’s two books on cinemaâThe Movement-Image and The Time-Imageâin the context of French cultural theory of the 1960s and 1970s, Rodowick examines the logic of Deleuze’s theories and the relationship of these theories to his influential philosophy of difference.
Rodowick illuminates the connections between Deleuze’s writings on visual and scientific texts and describes the formal logic of his theory of images and signs. Revealing how Deleuzian views on film speak to the broader network of philosophical problems addressed in Deleuze’s other booksâincluding his influential work with Félix GuattariâRodowick shows not only how Deleuze modifies the dominant traditions of film theory, but also how the study of cinema is central to the project of modern philosophy.
Book Description
Memories that evoke the physical awareness of touch, smell, and bodily presence can be vital links to home for people living in diaspora from their culture of origin. How can filmmakers working between cultures use cinema, a visual medium, to transmit that physical sense of place and culture? In The Skin of the Film Laura U. Marks offers an answer, building on the theories of Gilles Deleuze and others to explain how and why intercultural cinema represents embodied experience in a postcolonial, transnational world.
Much of intercultural cinema, Marks argues, has its origin in silence, in the gaps left by recorded history. Filmmakers seeking to represent their native cultures have had to develop new forms of cinematic expression. Marks offers a theory of âhaptic visualityââa visuality that functions like the sense of touch by triggering physical memories of smell, touch, and tasteâto explain the newfound ways in which intercultural cinema engages the viewer bodily to convey cultural experience and memory. Using close to two hundred examples of intercultural film and video, she shows how the image allows viewers to experience cinema as a physical and multisensory embodiment of culture, not just as a visual representation of experience. Finally, this book offers a guide to many hard-to-find works of independent film and video made by Third World diasporic filmmakers now living in the United States, Great Britain, and Canada.
The Skin of the Film draws on phenomenology, postcolonial and feminist theory, anthropology, and cognitive science. It will be essential reading for those interested in film theory, experimental cinema, the experience of diaspora, and the role of the sensuous in culture.
Customer Reviews:
watching film with the all the senses.......2000-06-20
Laura Marks' analysis of the connection between film/video and the senses, particularly our non-audiovisual senses, is fantastic. The focus of The Skin of the Film is work by filmmakers and video artists who live apart from their native culture and make work about this separation. The artists discussed in this book draw upon sensory experience to relate personal accounts of loss, longing, and remembering. Marks' in depth discussion and analysis gets at the heart of sensory memory that we all experience. Additionally, she relates this to strategies used by filmmakers throughout the history of cinema to push the cinematic experience beyond its audiovisual roots. I recommend this book for artists and film enthusiasts alike.
Average customer rating:
- Deleuze meets the horror genre: SPOOKY!
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Deleuze and Horror Film
Anna Powell
Manufacturer: Edinburgh University Press
ProductGroup: Book
Binding: Hardcover
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Psyche: Inventions of the Other, Volume I (Meridian: Crossing Aesthetics)
ASIN: 0748617477 |
Book Description
This book argues that dominant psychoanalytic approaches to horror films neglect the aesthetics of horror. Yet cinematic devices such as mise en scène, editing, and sound, are central to the viewer's visceral fear and arousal. Using Deleuze's work on art and film, Anna Powell argues that film viewing is a form of "altered consciousness" and the experience of viewing horror film an "embodied event."
The book begins with a critical introduction to the key terms in Deleuzian philosophy and aesthetics. These include: subjectivity/becoming, the body without organs, molecularity, time/duration, affect, movement/rhythm, space, anomaly, and schizoanalysis.
Themes such as insanity, sensory response to film, the subject/object, fractured time, the body, and cinematography are explored in horror films such as Jacob's Ladder, Dr. Jekyll and Mr. Hyde, Psycho, Silence of the Lambs, The Fly, A Nightmare on Elm Street, Alien Resurrection, The Others, The Shining, Interview with the Vampire, Bram Stoker's Dracula, and Nosferatu.
Customer Reviews:
Deleuze meets the horror genre: SPOOKY!.......2005-12-04
A fascinating, rigorous yet personal, application of Deleuzian concepts to the neglected field of horror studies. This is a ripe subject, as Deleuze is all about strange metamorphosis and viseral impact. Powell makes us look at both Deleuze and visceral/horror cinema in a new way. Intruginigly, the book engages BOTH Deleuze's cinema books AND his collaborations with Guattari in the Capitalism and Schizophrenia series, with much success.
This book is a beautiful tome and well worth it's steep sticker price. You will NOT find this rare volume in any computer databases.
Book Description
Film theory has for so long focused on sociological, empirical, and psychoanalytic approaches that aesthetic sensibilities seem to have been forgotten. This book puts the emphasis back on film as an art form. 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.
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Cinema 1: Movement-Image
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