Preface to the English Edition Translator's Introduction 1. Beyond the Movement-Image 2. Recapitulation of Images and Signs 3. FromRecollections to Dreams: Third Commentary on Bergson 4. The Crystals of Time 5. Peaks of Present and Sheets of Past: Fourth Commentary on Bergson 6. ThePowers of the False 7. Thought and Cinema 8. Cinema, Body and Brain,Thought 9. The Components of the Image 10. Conclusions Notes Glossary Index.
The second volume of Gilles Deleuze's landmark reassessment of the art of film, now available in the Bloomsbury Revelations series.
Gilles Deleuze (1925-1995) was one of the key figures in poststructuralism, and one of the most influential philosophers of the twentieth century. His major works include, with Felix Guattari, A Thousand Plateaus and Anti-Oedipus.
"Cinema I and Cinema II must be understood as works of
philosophy, not of film criticism. They are Deleuze's reflection on
the new ways the cinema enables us to think about time and
movement, opening up insights into semiotics and our ideological
construction of a world increasingly experienced through
representational media.... The main purpose of these books is to
identify and explore the implications of a vital shift from
classical, pre-World War II cinema of the movement-image to
post-World War II cinema of the
time-imaging....
"Cinema 1 and Cinema 2 perhaps ultimately have more to teach us
about philosophy, conceptions of subjectivity, and hermeneutics
than to say something about any specific film. These books are
challenging because they develop their own vocabulary in dialogue
with the history of philosophy, and they assume a wide knowledge of
films from the Soviet, European and Hollywood traditions. They
reward the effort required to read them, however, for the original
tools with which they provide us to understand cinema and semiotics
more generally. Deleuze concludes that it is important to think of
cinema not as a language, but as a way of bringing to light
'intelligible content' which is a condition through which language
constructs its objects (Cinema 2, p.251). Thus, purely optical and
sound images which do not extend into action might be one way in
which aesthetics might help us break outside of the determining
structure of linguistic systems, enabling us to imagine the world
otherwise. Deleuze helps us to see cinema as more than just a
collection of texts but as additionally 'a new practice of images
and signs, whose theory philosophy must produce as conceptual
practice' (Cinema 2, p. 269)."- Sherryl Vint, Film International,
Issue 27
*Film International*
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