Abstract

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...