When writing about cinema does Deleuze have a conception of cinema spectatorship? In New Philosophy for New Media, Mark Hansen argues that Deleuze does have a conception of cinema spectatorship but that the subjectivity central to that spectatorship is weak and impoverished. This article argues against Hansen's reductive interpretation of Deleuze. In doing so, it relies on the three syntheses of time developed in Difference and Repetition alongside an elaboration of Deleuze's notion of a ‘cinematographic Cogito’. In this way, the (...) article offers a way of understanding the processes of cinema spectatorship from a Deleuzian perspective. (shrink)

In formulating a notion of filmic reality, The Reality of Film offers a novel way of understanding our relationship to cinema. It argues that cinema need not be understood in terms of its capacities to refer to, reproduce or represent reality, but should be understood in terms of the kinds of realities it has the ability to create. The Reality of Film investigates filmic reality by way of six key film theorists: André Bazin, Christian Metz, Stanley Cavell, Gilles Deleuze, Slavoj (...) Zizek and Jacques Rancière. In doing so, it provides comprehensive introductions to each of these thinkers, while also debunking many myths and misconceptions about them. Along the way, a notion of filmic reality is formed that radically reconfigures our understanding of cinema. This book is essential reading for film scholars, students and philosophers of film, while it will also appeal to graduate students and specialists in other fields. (shrink)

This article contrasts the notion of a Deleuzian imaginary with that articulated by various film theorists during the 1970s and 1980s. Deleuze offers us, I argue, a way to conceive of the imaginary in the cinema in a positive way; that is, as something which opens up new expressions of the real. By contrast, for film theorists of the 1970s and 1980s, the imaginary was primarily conceived as a negative concept, as something which offered merely escapes or fraudulent distortions of (...) the real. A Deleuzian imaginary for the cinema can be articulated, I argue, by way of the films of Jean Renoir. (shrink)

This paper examines Stanley Cavell's theories from the perspective of a 'politics of cinema' and engages in a critical reading of Sofia Coppola's 2006 film, Marie Antoinette.

An examination of Gilles Deleuze's writings on film and film theory and how these writings relate to Max Ophuls's 1955 film, Lola Montès.