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.
Elena del Río
- Published in print:
- 2008
- Published Online:
- March 2012
- ISBN:
- 9780748635252
- eISBN:
- 9780748651146
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748635252.003.0005
- Subject:
- Film, Television and Radio, Film
This chapter considers the abstract operations of intellectual cinema not as the purview of Brechtian analysis, but rather as directly linked to the sensory and kinesthetic intensities of the body. ...
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This chapter considers the abstract operations of intellectual cinema not as the purview of Brechtian analysis, but rather as directly linked to the sensory and kinesthetic intensities of the body. It reviews Claire Denis's films Nénette and Boni, Beau Travail and Friday Night through the lens of Gilles Deleuze's account of modern cinema as both a cinema of bodies and a sensation-producing abstract machine. The chapter explains that Nénette and Boni uses sensory disorder to disarticulate the familiar Oedipal parameters of sexuality and narrative, that the erotic seduction of the spectator in Beau Travail is displaced from the sexual act between two people to the sexual charge which pervades the entire film's intricate performative web, and that Friday Night offers an outstanding example of Deleuze's ideas on space, time and movement.Less
This chapter considers the abstract operations of intellectual cinema not as the purview of Brechtian analysis, but rather as directly linked to the sensory and kinesthetic intensities of the body. It reviews Claire Denis's films Nénette and Boni, Beau Travail and Friday Night through the lens of Gilles Deleuze's account of modern cinema as both a cinema of bodies and a sensation-producing abstract machine. The chapter explains that Nénette and Boni uses sensory disorder to disarticulate the familiar Oedipal parameters of sexuality and narrative, that the erotic seduction of the spectator in Beau Travail is displaced from the sexual act between two people to the sexual charge which pervades the entire film's intricate performative web, and that Friday Night offers an outstanding example of Deleuze's ideas on space, time and movement.
