Gregg Lambert
- Published in print:
- 2012
- Published Online:
- August 2015
- ISBN:
- 9780816678020
- eISBN:
- 9781452948058
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816678020.003.0007
- Subject:
- Philosophy, General
This chapter discusses the “image of thought” in modern cinema, especially what Deleuze calls “the cinema of the brain.” Within the “machine” of cinema is a means of transcending the mechanisms of ...
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This chapter discusses the “image of thought” in modern cinema, especially what Deleuze calls “the cinema of the brain.” Within the “machine” of cinema is a means of transcending the mechanisms of perception, opinion (common ideas, or views), and cliché in order to invent newer and finer articulations of the linkages between the human and the world (linkages that Deleuze would later call the creation “percepts and affects”). Modern cinema does this precisely by making use of stock conventions and habitual determinations“to pass through the net of determinations that have spread out” into a world (determinations of perception, opinion, character, etc.); however, it fashions its own conventions, which become doxa (opinion) as well—and there is always a danger that these forms will become too rigid and dominant.Less
This chapter discusses the “image of thought” in modern cinema, especially what Deleuze calls “the cinema of the brain.” Within the “machine” of cinema is a means of transcending the mechanisms of perception, opinion (common ideas, or views), and cliché in order to invent newer and finer articulations of the linkages between the human and the world (linkages that Deleuze would later call the creation “percepts and affects”). Modern cinema does this precisely by making use of stock conventions and habitual determinations“to pass through the net of determinations that have spread out” into a world (determinations of perception, opinion, character, etc.); however, it fashions its own conventions, which become doxa (opinion) as well—and there is always a danger that these forms will become too rigid and dominant.
