Description

By (author) Gilles Deleuze; By (author) Deleuze Gilles

Gilles Deleuze was one of the most influential figures in twentieth-century philosophy, whose master-works, Difference and Repetition and – with Felix Guattari – A Thousand Plateaus and Anti-Oedipus have become one of the most widely-influential bodies of work in contemporary thought. Cinema II is Deleuze’s second work on cinema, completing the reassessment of the art form begun in Cinema I. Influenced by the philosophy of Henri Bergson, Deleuze here offers a compelling analysis of the cinematic treatment of time and memory, thought and speech. The work draws on examples from major film makers, including Federico Fellini, Alfred Hitchcock and Orson Welles, among many others.

Table of contents
Preface to the English EditionTranslator”s Introduction 1. Beyond the Movement-Image2. Recapitulation of Images and Signs3. FromRecollections to Dreams: Third Commentary on Bergson4. The Crystals of Time 5. Peaks of Present and Sheets of Past: Fourth Commentary on Bergson6. ThePowers of the False7. Thought and Cinema8. Cinema, Body and Brain,Thought9. The Components of the Image10. ConclusionsNotesGlossary Index.

Review quote
“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

Biographical note

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.

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The second volume of Gilles Deleuze”s landmark reassessment of the art of film, now available in the Bloomsbury Revelations series.

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Bringing together books and thinkers that have opened up startling new ways of looking at the world, the Bloomsbury Revelations series celebrates the originality and excellence of Bloomsbury Academic”s non-fiction publishing. Including books by the likes of Carol Adams, Winston Churchill, Slavoj Zizek, Ferdinand de Saussure, Ronald Dworkin, Constantin Stanislavs