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A serious debate at the importance—and usefulness—of Deleuze’s movie theory

The first new selection of serious experiences on Deleuze’s cinema writings in approximately a decade, Afterimages of Gilles Deleuze’s movie Philosophy presents unique essays that review the ongoing importance of Deleuze’s movie theories, accounting systematically for the ways that they've got inspired the research of up to date visible tradition and delivering new instructions for study.

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Extra info for Afterimages of Gilles Deleuze’s Film Philosophy

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99. , 2001). 41 Alain Badiou, “Du cinéma comme emblème democratique,” Critique 692–93 (January–February 2005): 4–13. 42 Deleuze, Foucault, 93. 43 As cited in Deleuze, Time-Image, 220. , 260. , trans. Hugh Tomlinson and Graham Burchell (New York: Columbia University Press, 1994), 32–33. , 208. , 201. 3. Notes to a Footnote: The Open Work according to Eco and Deleuze András Bálint Kovács In a footnote to Difference and Repetition, Deleuze notes, “Eco shows that the ‘classical’ work of art can be considered from different perspectives and can be judged according to different interpretations, but to not every interpretation or point of view corresponds an autonomous work contained in the chaos of a great work.

Such is the constitutive aporia of time, which assumes and removes the present in an incessant short circuit, where the instant slips away by advancing backward. 2. A second conclusion extends the preceding one. The attraction of the outside, even withdrawn into the visibility that comes from a relationship to the inside, is not limited to the modern cinema inventoried by Deleuze in 1985. The attraction of the outside operates on the whole of the Deleuzian apparatus, which situates, as we know, the paradox of movement—both visible and nonvisible, continuous and continually discontinuous—as the very principle of cinematographic Image or Time?

87. 32 Deleuze, Time-Image, 155. , 143. , 155. , 101. , 69. , 78. , 81. , 99. , 2001). 41 Alain Badiou, “Du cinéma comme emblème democratique,” Critique 692–93 (January–February 2005): 4–13. 42 Deleuze, Foucault, 93. 43 As cited in Deleuze, Time-Image, 220. , 260. , trans. Hugh Tomlinson and Graham Burchell (New York: Columbia University Press, 1994), 32–33. , 208. , 201. 3. Notes to a Footnote: The Open Work according to Eco and Deleuze András Bálint Kovács In a footnote to Difference and Repetition, Deleuze notes, “Eco shows that the ‘classical’ work of art can be considered from different perspectives and can be judged according to different interpretations, but to not every interpretation or point of view corresponds an autonomous work contained in the chaos of a great work.

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