Adopting Gilles Deleuze and Felix Guattari's formulations of the rhizome, this article will examine a dynamic that lies between the film Japón's (Carlos Reygadas, 2002) vernacular specificities, European modernist aesthetics and cosmopolitan spectatorship. The article aims to reveal that Japón, along with other contemporary slow films from around the world, has the potential to reify a deterritorialising and reterritorialising encounter that rethinks a Eurocentric genealogical reading of world cinema and challenges a capitalist code of filmmaking.

Cinema has long played a crucial role in the way that societies remember and represent themselves. In the last quarter century, film has been an important medium in the public debate around the memory of the Holocaust and of Hiroshima; of the Algerian war for independence and of the Spanish Civil War; of the Allende legacy in Chile, the utopian dreams of 1968, and the aborted project of the German Democratic Republic; in identity formation in Palestine and in the (...) African diaspora. Hedges discusses the role of cinema within a global perspective that spans five continents, and proposes an original typology of cultural memory. In the process, she re-evaluates the contributions of major directors and uncovers hitherto neglected yet important works. The author develops her arguments in an approachable style that will encourage readers to rethink their own memories of films and to reflect on the way that cinema contributes to collective and cultural memory. The book's innovative approach should transform the way that we think of film and its social effects. (shrink)

Introduction -- Physical cinema. The end of the other -- The immaterial difference : Werner Herzog revisited -- The reality of the medium. Conceptual realism in Land in trance and I am Cuba -- The work of art in progress : an analysis of delicate crime -- The ethics of desire. The realm of the senses, the ethical imperative and the politics of pleasure -- Hara and Kobayashi's "private documentaries" -- The self-performing auteur : ethics in João César Monteiro.

This article examines, analyses and compares the cinematic representation of three female protagonists (on three respective films) within their portrayed incestuous relationships. It also attempts to draw significant conclusions about their dynamic as female participating subjects in these affairs in a more inclusive way, one that takes into consideration their racial, gender, social and family characteristics. As incest itself is one of the strongest human taboos, various questions regarding the female portrait and position in such relationships arise: as incest constitutes (...) the strongest social taboo of human civilization, is it similarly portrayed in cinema? Can incest be a female’s act of choice or is it just a male’s one? Are there any differences between male and female depictions of incestuous desire and sexual act? In which ways do potential differences, such as social status, class origin, racial and gender stereotypes, influence the protagonists of incestuous relationships? Which female motivations are involved in incestuous relationships? (shrink)

Introduction : deterritorializing Deleuze -- Spectacle I : attraction-image -- History : Deleuze after dictatorship -- Space : geopolitics and the action-image -- Spectacle II : Masala-image -- Conclusion : the continuing adventures of Deleuze and world cinemas.

The recent ‘nonhuman turn’ in the theoretical humanities and social sciences has highlighted the need to develop more ontological modes of theorising the ethical ‘responsibility’ of the human in its relational encounters with nonhuman bodies and materialities. However, there is a lingering sense in this literature that such an ethics remains centred on a transcendent subject that would pre-exist the encounters on which it is called to respond. In this essay, I explore how Gilles Deleuze's philosophy offers potential opening for (...) a more ontogenetic thinking of a ‘nonhuman ethics’. Specifically, I focus on how his theory of ‘individuation’ – conceived as a creative event of emergence in response to immanent ontological problems – informs his rethinking of ethics beyond the subject, opening thought to nonhuman forces and relations. I argue that if cinema becomes a focus of Deleuze's ethical discussions in his later work it is because the images and signs it produces are expressive of these nonhuman forces and processes of individuation, generating modes of perception and duration without ontological mooring in the human subject. Through a discussion of Verena Paravel and Lucien Castaing-Taylor's experimental film – Leviathan – I explore how the cinematic encounter dramatises different ethical worlds in which a multiplicity of nonhuman ‘points of view’ coexist without being reduced to a hierarchical or orienting centre that would unify and identify them. To conclude, I suggest that it is through the lens of an ethics of individuation that we can grasp the different sense of ‘responsibility’ alive in Deleuze's philosophy, one oriented not to the terms of the already-existing but rather to the nonhuman potential of what might yet come into being. (shrink)

One has the distinct feeling that Deleuze and World Cinemas was already in the works when David Martin-Jones published Deleuze: Cinema and National Identity in 2006. In that earlier study, he married Deleuze with Homi K. Bhabha to produce constructive readings of both canonical and popular films. He considers these texts to be hybrid films that display qualities of both the movement-image and time-image, two Deleuzian concepts he deploys in showing how narrative time fashions national identity in distinctive (...) ways. The final chapter of this earlier work departed abruptly from discussion of Hollywood and Western European cinema to engage with films from East Asia, a move that charted a specific future course. In... (shrink)

Economic crisis emerges as a central feature of globalization and, in particular, of the structural instability of transnational capital circulation since the 1970s. The strategies of neoliberalism––deregulation, privatization, and expropriation of wealth toward the richer nations––redoubled the indebtedness of the global South and helped provoke debt crises in nations from Mexico in the 1980s and East Asia in the 1990s to Argentina, Iceland and Greece in the 2000s. Embedded as it almost always is within the global circuits of capitalist culture, (...) cinema has a particularly complex relationship to globalization: these economic shifts affect film funding, modes of production, and the institutions of international .. (shrink)

_Film Worlds_ unpacks the significance of the "worlds" that narrative films create, offering an innovative perspective on cinema as art. Drawing on aesthetics and the philosophy of art in both the continental and analytic traditions, as well as classical and contemporary film theory, it weaves together multiple strands of thought and analysis to provide new understandings of filmic representation, fictionality, expression, self-reflexivity, style, and the full range of cinema's affective and symbolic dimensions. Always more than "fictional worlds" and (...) "storyworlds" on account of cinema's perceptual, cognitive, and affective nature, film worlds are theorized as immersive and transformative artistic realities. As such, they are capable of fostering novel ways of seeing, feeling, and understanding experience. Engaging with the writings of Jean Mitry, Pier Paolo Pasolini, Christian Metz, David Bordwell, Gilles Deleuze, and Hans-Georg Gadamer, among other thinkers, _Film Worlds_ extends Nelson Goodman's analytic account of symbolic and artistic "worldmaking" to cinema, expands on French philosopher Mikel Dufrenne's phenomenology of aesthetic experience in relation to films and their worlds, and addresses the hermeneutic dimensions of cinematic art. It emphasizes what both celluloid and digital filmmaking and viewing share with the creation and experience of all art, while at the same time recognizing what is unique to the moving image in aesthetic terms. The resulting framework reconciles central aspects of realist and formalist/neo-formalist positions in film theory while also moving beyond them and seeks to open new avenues of exploration in film studies and the philosophy of film. (shrink)

Gilles Deleuze tells us that philosophical problems ‘compelled’ him to look to the cinema for answers, but he doesn’t tell us what those problems are. In this thesis I argue that the problems in question turn on the foundational role that Henri Bergson’s critique of the cinematographic illusion plays in the development of Deleuze’s ontological conception of difference – specifically in his 1956 essay “Bergson’s Conception of Difference.” The consequence of Bergson’s characterisation of human thought, perception and language as (...) cinematographic in their orientation is that any philosophy that seeks to grasp being in its own terms must overcome or surpass the human to do so. This necessity plays itself out across the Deleuzian oeuvre in diverse formulations in relation to the Nietzschean themes therein. In doing so, however, the human is ‘left behind,’ such that Peter Hallward is able to contend that the human and properly human concerns have no place in Deleuzian philosophy. My argument is that Deleuze turns to the cinema to think through the question of the human relation to being, on the basis of difference as such. Deleuze argues that the essence of the cinema is to be free of the cinematographic illusion - it ‘thinks’ in terms of real difference first of all. On that basis, it is able deduce the genesis of that illusion, and of the cinematographic orientation of human being and thought. The classical cinema dramatises the history of philosophy insofar as it remains subject to the cinematographic illusion and subordinates time to movement, but the modern cinema reverses this subordination in terms that do not ‘overcome’ or ‘surpass’ the human, but rather constitute its exposure to being as real difference. The modern cinema dramatises in turn the experience of what Kant calls the “fractured I,” which experiences its own thought not as spontaneity or power, but as time as the form of change. Deleuze’s Cinema books can thus be read as a response to the demands laid out in Solomon Maimon’s critique of Kant, locating the Cinema books and their treatment of the history of philosophy firmly in the context of Deleuze’s post-Kantian project. At the same time, the Cinema books thereby map out the relation of the human and properly human concerns to the difference of being as a creative and productive force that bears on those concerns without being reduced to them – the thought of being as the event of thought. (shrink)

Vania Barraza y Carl Fischer, eds. Chilean Cinema in the Twenty-First-Century World Detroit, EE. UU., Wayne State University Press, 2020.

This paper attempts to analyse the images that animated a political movement called the Odessa Collective in Kerala since 1984. It produced six films – Amma Ariyan, Ithrayum Yathabhagam, Vettayadapetta Manasu, Mortuary of Love, Agnirekha and Holy Cow. This paper tries to argue that the twenty-two years of this movement's politics can be studied as an assemblage of the man and machine in a Deleuzian framework on cinema of the Third World. It tries to conceptualise the linkages between (...) the Cinéma Vérité of Jean Rouch and the Third Cinema of Solanas and Getino or the milieu of the political which creates realistic documentation in cinema. It looks at the concepts like desire and representation that intersect between these two different genres in order to reconceptualise the political in relation to Deleuze on cinema. (shrink)

An examination of how the Accelerationist imagination has failed in its deviation from Nick Land's radical metaphorics of an Artaudian and Bataille-esque signifying “economy without reserve” to a neo-Sovietised bureaucratic plan for the post-Anthropocene, per Benjamin Noys et al. Given a positivistic guise, futurology of the latter kind almost always masks a return of apocalyptic humanism. The fantasy of a species unified in solidarity, in full view of its techno-evolutionary obsolescence, seeks to magically transform the history of alienation into some (...) transcendental “means” of global post-production: but what this amounts to in fact is the phantasmatic extension of the Situationist spectacle into a “collective” dream of living on beyond a “global” extinction event which, in reality, will have been nothing but that of an ideology. (shrink)

Enacting the World of Cinema offers a substantial reconfiguration of the textual roots of modern film narratology. By giving sustained attention to cinema's material-affective modes of communicating its stories and embedding its audience in atmospheric, kinetic, and multisensorial worlds, this book maintains that film narratives are less representations than they are enactments; brought forth through the interactions of the felt body and the film material. The book defends this enactive and media-anthropological thesis by reworking a series of (...) established film narratological key concepts including the diegesis, mood/atmosphere, and the distinction between diegetic and non-diegetic sound. In the process, this book draws on a wide range of contemporary theoretical resources such as affective neuroscience, media-philosophy, philosophy of mind, atmosphere research, multisensory perception theory, as well as a broad selection of films including Berlin: Symphony of a Great City (Ruttman, 1927), The Cranes are Flying (Kalatozov, 1957), and Happy as Lazzaro (Rohrwacher, 2018)"--Dust jacket flap. (shrink)

ArgumentIn 1895 when the Lumière brothers unveiled their cinematographic camera, many scientists were elated. Scientists hoped that the machine would fulfill a desire that had driven research for nearly half a century: that of capturing the world in its own image. But their elation was surprisingly short-lived, and many researchers quickly distanced themselves from the new medium. The cinematographic camera was soon split into two machines, one for recording and one for projecting, enabling it to further escape from the (...) laboratory. The philosopher Henri Bergson joined scientists, such as Etienne-Jules Marey, who found problems with the new cinematographic order. Those who had worked to make the dream come true found that their efforts had been subverted. This essay focuses on the desire to build a cinematographic camera, with the purpose of elucidating how dreams and reality mix in the development of science and technology. It is about desired machines and their often unexpected results. The interplay between what “is” (the technical), what “ought” (the ethical), and what “could” be (the fantastical) drives scientific research. (shrink)

I offer a new Heideggerian reading of Terrence Malick’s 2005 film, The New World, in the style of film-philosophy, alongside a contrasting Cinematic Humanist encounter. I consider if the former is a theory-involving example of philosophy of film, and whether a positive answer to this question entails the latter must be also. I argue that whilst both engagements with the film use the work of other philosophers as part of their appreciation, Cinematic Humanism nonetheless remains one of many possible (...) ways of doing philosophy of film without theory. Having compared these two methods, I suggest reasons why there is nonetheless a potentially valuable relation to be had between philosophy of film with and philosophy of film without theory. Close attention is paid to the film throughout. (shrink)

Kafka's work has exercised immense influence on cinema and his reflections on diminished human agency in modernity and the dominance of oppressive institutions that perpetuate individual or social alienation and political repression have been the subject of debates by philosophers such as Theodor Adorno, Walter Benjamin, Gilles Deleuze, Félix Guattari, and Alexander Kluge. Informed by a world-systems approach and taking a cue from Jorge Luis Borges’ point that Kafka has modified our conception of the future, and André Bazin's (...) suggestion that literary concepts, characters and styles can exceed “novels from which they emanate”, I understand the Kafkaesque as an elastic term that can refer to diverse films that might share thematic preoccupations, but also aesthetic and formal differences. In this article, I explore the politics of humour in Kafkaesque cinema with reference to the following films: The Overcoat ( Шинель, 1926, Gregor Koznitzev and Leo Trauberg), The Shop on Main Street ( Obchod na korze, 1965, Ján Kadár), and Death of a Bureaucrat ( La muerte de un burócrata, 1966, Tomás Gutiérrez Alea). I draw attention to the dialectics of humour and the connection between the Kafkaesque and slapstick so as to show how humour is deployed as a means of political critique. (shrink)

The first issue this essay examines is the articulation of the cinema of the body, the feminine gestus, and the ‘political cinema’, which begins with the philosophical shout, ‘Give me a body, then!’ and ends with the ‘Third World Cinema’ as a cinema of memory. How is this Deleuzian concept in tension with the one proposed here of ‘missing body’? The second issue concerns the importance of the body for theory and practice within feminist film (...) theory and queer theory. The question of the body is introduced in-between these two lines in the context of a series of Latin American documentaries. The final problem is then how to see and show a body that is missing, like an outside of the body image, and of a certain regime of the visible and the audible that tends to be fixed in topics by the production of technologies of memory. (shrink)

The global pandemic has pushed many of us to online streaming services. A particular genre in these services is the ‘end of the world’ science fiction film, in and through which the speculated results of processes such as climate change are depicted. CGI technology is frequently deployed to create images of the end of the world, which is a backdrop to the narrative of, ‘saving ourselves amidst the ruins’. This philosophy of education essay will critically examine ten films (...) in order to:Explain how ‘the end of the world’ images connected to processes such as climate change, obscures and displaces attention from the real, scientifically proven processes that are not so entertaining, but are still deadly. The images are created by capital and its machines for audience attention and have little to do with real social change. Science sits in an ambiguous position in this paper in that the real processes of climate change proven by science may be funded by capitalist mechanisms that can also be their cause.Introduce a reformulated notion of ecosophy from the work of Félix Guattari, Murray Bookchin, Arne Næss and Andre Gorz. This essay will suggest that ecosophy has the potential to teach the underlying split between depictions of the end of the world through the capitalist machine and the real social change necessary under climate change. Ecosophy is in the context of this essay a specific conceptual construction designed for teaching about climate change through cinema. (shrink)

The German filmmaker Alexander Kluge has long promoted cinema's relationship with the goals of human emancipation. Jean-Luc Godard and Filipino director Kidlat Tahimik also believe in cinema's ability to bring about what Theodor W. Adorno once called a "redeemed world." Situating the films of Godard, Tahimik, and Kluge within debates over social revolution, utopian ideals, and the unrealized potential of utopian thought and action, Christopher Pavsek showcases the strengths, weaknesses, and undeniable impact of their utopian visions on (...) film's political evolution. He discusses Godard's _Alphaville_ (1965) against _Germany Year 90 Nine-Zero_ (1991) and _JLG/JLG: Self-portrait in December _(1994), and he conducts the first scholarly reading of _Film Socialisme_ (2010). He considers Tahimik's virtually unknown masterpiece, _I Am Furious Yellow_ (1981--1991), along with _Perfumed Nightmare_ (1977) and _Turumba_ (1983); and he constructs a dialogue between Kluge's _Brutality in Stone_ (1961) and _Yesterday Girl_ (1965) and his later _The Assault of the Present on the Rest of Time_ (1985) and _Fruits of Trust_ (2009). (shrink)

Compared to earlier waves of political cinema, such as the Russian revolution films of the 1920s and the militant Third Cinema movement in the 1960s, in today's globalized and digital media world filmmakers have adopted different strategies to express a commitment to politics. Rather than directly calling for a revolution, ‘post-cinema’ filmmakers with a political mission point to the radical contingencies of history; they return to the archives and dig up never seen or forgotten materials. They (...) reassemble stories, thoughts, and affects, bending our memories and historical consciousness. Following Deleuze and Guattari's geophilosophical ideas in A Thousand Plateaus filmmakers can be considered metallurgists. Discussing the work of Tariq Teguia, John Akomfrah and others, this article investigates several metallurgic strategies that have a performative effect in reshaping our collective memory and co-constructing the possibility of ‘a people to come.’. (shrink)

What is called “time travel” cinema is but one aspect in a tripartite series of interweaving modes of disjunctive narration which is also – simultaneously – a cinema of “many worlds” and “altered states”. Exploiting Gilles Deleuze's three syntheses of time, space, and consciousness from Difference and Repetition (1968) allows a conceptual development of these cinematic series through three popular Hollywood film cycles beginning with Planet of the Apes (Franklin J. Schaffner, 1968), The Terminator (James Cameron, 1984), and (...) Back to the Future (Robert Zemeckis, 1985). In so doing, film and philosophy are deployed as two series which together create inexhaustible atemporal, aspatial, and ahuman disjunctions, ungrounding everyday spatio-temporal identities, and affirming productive images of cinematic thought. (shrink)

A study of how contemporary cinema and film-philosophers explore radical skepticism about our knowledge of the world.

ABSTRACTThis article analyzes the American intervention in Nazi-oppressed Europe during World War II and the way in which this intervention is represented in film. Examining the visual and cinemati...

Body, Soul and Cyberspace explores how recent science-fiction cinema addresses questions about the connections between body and soul, virtuality, and the ways in which we engage with spirituality in the digital age. The book investigates notions of love, life and death, taking an interdisciplinary approach by combining cinematic themes with religious, philosophical and ethical ideas. Magerstädt argues how even the most spectacle-driven mainstream films such as Avatar, The Matrix and Terminator can raise interesting and important questions about the human (...) self and our interaction with the world. Apart from these well-known science fiction epics, her analysis also draws on recent works, such as Inception, The Thirteenth Floor, eXistenZ, Aeon Flux, Total Recall (2012), Transcendence and TRON: Legacy. These films stimulate an engaging discussion on what makes us human, the role memory plays in understanding ourselves, and how virtual realities challenge the moral concepts that govern human relationships. (shrink)

Shard cinema tells an expansive story of how moving images have changed in the last three decades, and how they have changed us along with them, rewiring the ways we watch, fight, and navigate an unsteady world. In a set of interrelated essays that range from the writings of early factory workers to the distributed sight of contemporary surveillance, Williams argues for deep links between the images we see and the hidden labors frozen into them, exploring how even (...) the apparently trivial or spectacular carries unique opportunities to detect and process the social frictions of their making. Spanning film, video games, radical history, architecture, visual effects, and war, the book crosses the twentieth century into our present to confront a new order of seeing and making that slowly took shape: the composite image, where no clean distinction can be made between production and post-production, filmed and animated, material and digital. Giving equal ground to costly blockbusters, shaky riot footage, disaster photography, and early cinema, Williams leads us from computer-generated 'shards' of particles and debris to the broken phone screens on which we watch these digital storms, looking for the unexpected histories lived in the interval between"--Page 4 of cover. (shrink)

Aleksandar Dundjerovic _The Cinema of Robert Lepage: The Poetics of Memory_ London and New York: Wallflower Press, 2003 ISBN 1-903364-33-7 181 pp.

This article examines the relationship between technology and aesthetics in contemporary Hollywood, using experiments with frame rates and shutter speeds to show how deep, systemic changes in cinematic technologies can alter our relation to the image’s referential functions. For eighty years, cinema’s registration of movement relied upon a standardized frame rate and shutter speed, meaning that cinema’s sense of motion was constant. With the proliferation of ever more powerful digital capture systems, however, these formerly inflexible options are made (...) variable and put into question. By changing the registration of movement, the high frame rate experiments in The Hobbit and the open-shutter cinematography of Miami Vice offer an estranged relation to cinema’s presentation of worldly motion. I argue here that this altered sense of the image’s referentiality is well suited to depictions of our contemporary reality, which, being profoundly bound up in digital technologies, seems similarly disorienting, estranging, and aesthetic. In the first section of the article, I trace out the origins of this style of movement in the logics of the corporate tech industry, which rolls out continual upgrades in audio-visual technologies in order to justify new product lines. According to industry rhetoric, these upgrades ostensibly lead to a heightened sense of realism, but viewer response has been torn over whether this new sense of motion is realistic or unrealistic. In the second section, I closely analyze The Hobbit and the recent work of Michael Mann to show how established film form shifts in relation to this problem in digital cinema’s representation of worldly movement. In The Hobbit’s case, film form is altered in order to assimilate the HFR’s unfamiliar sense of motion, but the cinematography in Miami Vice embraces a productive aesthetic estrangement which is both realistic and hyperaestheticized, leaving the divide between immanent experience and technologized disorientation an open question. (shrink)