Examines the concept of analytical and synthetic processes in cinema. Distinction between analytic and synthetic processes; Implications of analytic and synthetic processes for cinema; Doubts about cinema being analytical or synthetic.

Name der Zeitschrift: Semiotica Jahrgang: 2016 Heft: 213 Seiten: 197-211.

This article aims to examine the relationship between image and narrative by means of Peirce’s first trichotomy of qualisign-sinsign-legisign or, for the purposes of the current argument, image-diagram-metaphor. It is argued that narrative, as an extended metaphor, can be examined in three modes: in the image; schematically, in the imagination; and allegorically or in a thought experiment, through hypothetic interpretation. The article outlines two kinds of diagrammatic reasoning emphasized by Peirce: corollarial deduction in which the image (...) is ‘literally seen’ and the reasoning steps are manifest in its conclusion; and theorematic deduction where the conclusion in a diagram is subject to a hypothesis which transforms the image into something new. Demonstrating the breadth of diagrammatic reasoning with reference to the 2018 film, The Shape of Water, the article seeks to explore how allegory and diagram are mutually cooperative, based on three ontological modes: the expressive, the cognitive, and the symbolic. Its primary focus, then, is not so much on the story events of the narrative, as the way that they are visualized and characterized as the fairy story unfolds. It is suggested that the interpreting activity involved in allegory and diagram ties interpretation to metacognition, ultimately (re)recognizing the image in The Shape of Water in an attempt to ascertain the meaning of love. (shrink)

Cinema and Agamben brings together a group of established scholars of film and visual culture to explore the nexus between the moving image and the influential work of Italian philosopher Giorgio Agamben. Including two original texts by Agamben himself, published here for the first time in English translation, these essays facilitate a unique multidisciplinary conversation that fundamentally rethinks the theory and praxis of cinema. In their resourceful analyses of the work of artists such as David Claerbout, Jean-Luc (...) Godard, Philippe Grandrieux, Michael Haneke, Jean Rouch, and others, the authors put to use a range of key concepts from Agamben's rich body of work, like biopolitics, de-creation, gesture, potentiality and profanation. Sustaining the eminently interdisciplinary scope of Agamben's writing, the essays all bespeak the importance of Agamben's thought for forging new beginnings in film theory and for remedying the elegiac proclamations of the death of cinema so characteristic of the current moment. (shrink)

Cinema and Agamben brings together a group of established scholars of film and visual culture to explore the nexus between the moving image and the influential work of Italian philosopher Giorgio Agamben. Including two original texts by Agamben himself, published here for the first time in English translation, these essays facilitate a unique multidisciplinary conversation that fundamentally rethinks the theory and praxis of cinema. In their resourceful analyses of the work of artists such as David Claerbout, Jean-Luc (...) Godard, Philippe Grandrieux, Michael Haneke, Jean Rouch, and others, the authors put to use a range of key concepts from Agamben's rich body of work, like biopolitics, de-creation, gesture, potentiality and profanation. Sustaining the eminently interdisciplinary scope of Agamben's writing, the essays all bespeak the importance of Agamben's thought for forging new beginnings in film theory and for remedying the elegiac proclamations of the death of cinema so characteristic of the current moment. (shrink)

À quelles conditions peut-on, dans un discours réel, utiliser un énoncé comme argument en faveur d’un autre? La réponse semble aller de soi, au moins si l’on assimile l’argumentation à une espèce de raisonnement - peut-être lâche et flou, mais analogue en son fond à la démonstration étudiée par les logiciens. Dans ce cas, l’enchaînement des énoncés se fonde sur les informations qu’ils véhiculent, sur ce qu’ils disent de la réalité. C’est justement l’inverse que veut montrer la théorie des échelles (...) argumentatives. Selon elle, la structure des énoncés, au sens le plus étroitement grammatical du terme, contient, indépendamment des informations qu’ils donnent, des indications sur le type de conclusions qu’ils peuvent servir. Le sens même de nos paroles doit alors être vu comme étant, de façon intrinsèque, un moyen pour orienter le discours de l’autre, l’intention de dire ne se distinguant pas de l’intention de faire dire. Ce qui fait triompher le structuralisme là où on l’attend le moins, en sémantique - la valeur sémantique d’un énoncé est constituée par allusion à la possibilité d’un autre énoncé - l’énoncé de l’autre. (shrink)

Deleuze explica el cine a partir de dos nociones claves: imagen-movimiento e imagen-tiempo. Con las dos, quiere a grosso modo explicar el cine hasta la Segunda Guerra Mundial como un cine que se concentra en acción y movimiento, a diferencia del cine de Posguerra, que se ha vuelto reflexivo y pivilegia la presencia del tiempo. Deleuze afirma que ha tomado ambos conceptos de Bergson, y especialmente de su obra Materia y memoria. Este artículo explicará brevemente algunos rasgos fundamentales de estas (...) nociones en Deleuze, después abordará a Bergson para ver en qué sentido él era creador de estas nociones y, finalmente, regresará a Deleuze para precisar las nociones en cuestión y sus alcances en la explicación del cine. (shrink)

This article compares the poetics of Marcel Proust's A la recherche du temps perdu and Jean-Luc Godard's Histoire du cinéma in order to realign our understanding of metaphor, metonymy and montage with the inter-formal dialogues that new media artworks increasingly demand of audiences. An analysis of Godard's ‘quotation’ of Proust's words and ideas from Le Temps retrouvé sets out an explicit rivalry between text and image. However, drawing on formalist and structuralist approaches to both literature and cinema, including (...) Roman Jakobson and Gérard Genette, as well as more recent discussions developed by Gilles Deleuze and Lev Manovich, I will argue that the nature of the image manifested in both artworks corresponds to a shared aesthetic that exceeds distinctions between word and image, literature and video. (shrink)

Machine generated contents note: -- Preface to the English edition \ Translators' Introduction \Preface to the French Edition \ 1. Theses on Movement: First Commentary onBergson \ 2. Frame and Short, Framing and Cutting \ 3. Montage \ 4. TheMovement-Image and its Three Varieties: Second Commentary on Bergson \ 5. ThePerception-Image \ 6. The Affection-Image Face and Close-Up \ 7. TheAffection-Image: Qualities, Powers, Any-Space-Whatevers \ 8. From Affect toAction: The Impulse Image \ 9. The Action- (...) class='Hi'>Image: The Large Form \ 10. The Action-Image:The Small Form \ 11. Figures, or the Transformation of Forms \ 12. The Crisisof the Action-Image \ Glossary \ Notes \ Index. (shrink)

"A book well worth reading as its expose of postmoderism has a clarity others would do well to imitate." --Tim Gay in NATFHE Journal Blue Velvet, sex, lies and videotape, Do the Right Thing, and Wall Street are just some of the provocative films that Denzin explores for their portrayal of the postmodern self. He examines the basic thesis that members of the contemporary world are voyeurs who, adrift in a sea of symbols, recognize and anchor themselves through cinema (...) and television. He skillfully weaves this idea back and forth between two kinds of texts: social theory, including poststructuralism, postmodernism, feminism, and marxism; and cinematic representations of life in modern America. The result is a solid assertion that postmodernism has shaped a dramaturgical society where the image has tragically replaced reality. Denzin offers a powerful reading of postmodern American society and the cinematic selves, however distorted, that inhabit this fantasy world. At the same time, he outlines the main contours of postmodern sociology and a postmodern sociological imagination that is responsive to the current historical moment. Images of Postmodern Society will play a key role in understanding the powerful relationship between postmodernism and the cinema for upper level graduates, gradate students, and contemporary scholars of cultural studies, communications, political science, anthropology, sociology, education, history, literary and cinema studies. "The book could be usefully incorporated into undergraduate sociology courses, particularly those that consider media and society, where it might serve as a basis for further discussion and examination of some important issues." --Journal of Communication "Images of Postmodern Society is a good book on two different levels. First, Denzin advances his own theory of postmodernism and, more specifically, of what he calls the "postmodern self," that is interesting and provocative. Second, this is one of the few books on postmodernity that is truly practical, in the sense that the book would be quite a good text to use in courses on the subject, whether they be in philosophy, sociology, film and media studies, cultural studies, and perhaps even anthropology. . . . I would certainly like to use the book for this purpose myself, and I would recommend the book for that purpose to colleagues in the departments mentioned." --Bill Martin, Philosophy Department, DePaul University "Denzin uncovers a profoundly important tension in postmodern culture . . . His work, then, demonstrates that the 'abundance of meaning' found in these films lies in the collision of modernist and postmodernist depictions of cultural practice." --Contemporary Sociology "Norman Denzin, one of the most interesting theorists and ethnographers in American sociology, has turned his critical eye to postmodern theory and contemporary American culture and society. Revitalizing Mills' sociological imagination, Denzin addresses the relations between Hollywood films of the 1980s, their constructions of self, and the structures of lived experience. He offers a postmodern sociology which addresses the increasingly conservative basis of postmodern ideologies of race, class, and gender. It offers an original postmodern critique of the postmodern. Images of Postmodern Society should be and will be widely read and discussed." --Larry Grossberg, University of Illinois. (shrink)

1. This book is a fascinating look at how early cinema and moving images inspired and were inspired by other more static forms of visual culture, such as painting, photography, and tableaux vivants. The contributors to this volume demonstrate how cinema responded to and was positioned within broader artistic and cultural frameworks. 2. This book is another strong contribution to the Proceedings of Domitor series, of which we are now the sole publishers. 3. It will benefit from our (...) well established reputation in early cinema studies. (shrink)

This is a philosophical investigation into the differing sensations of time in cinema and photography.

Within the loose group of studies that are sometimes labelled Heideggerian cinema – studies in which scholars consider film in conjunction with Heidegger's philosophy – little attention has been paid to Heidegger's actual view of cinema. This omission is not only odd but it is also problematic. In the off-hand comments Heidegger directs towards film throughout his collected works he criticises the medium for its covering over of Being, a fact that makes engaging with film through Heidegger's thinking (...) a questionable project. The present article aims to address this omission and to provide a conception of Heideggerian cinema that does not ignore, but answers, Heidegger's criticism. It argues that it is not the technological nature of cinema that is the source of Heidegger's hostility towards the medium but his conception of the film-photographic image as a transparent copy of the world. It is on this basis that cinema is denied the ca... (shrink)

Deleuze’s two Cinema books explore film through the creation of a series of philosophical concepts. Not only bewildering in number, Deleuze’s writing procedures mean his exegesis is both complex and elusive. -/- Three questions emerge: What are the underlying principles of the taxonomy? How many concepts are there, and what do they describe? How might each be used in engaging with a film? -/- This book is the first to fully respond to these three questions, unearthing the philosophies inspiring (...) Deleuze’s classifications, exploring every concept and reading a film for each. -/- Clearly and concisely mapping the Cinema books for newcomers to Deleuzian film studies, as well as opening up new areas of enquiry for expert readers. -/- > An interpretation of Bergson’s Matter and Memory through Deleuze’s Bergsonism describing the ground of Deleuze’s film-philosophy > A reading of Peirce’s semiosis from Pragmatism and Pragmaticism explicating the genesis and components of the movement-image > An examination of Deleuze’s syntheses of time, space, and consciousness from Difference and Repetition illuminating the genesis and components of the time-image > Concise engagements with each of the cinematic signs to assist reading Deleuze’s Cinema books, as well as commentaries and monographs that draw upon them > 44 film readings – one for each cinematic sign – to clarify their application. (shrink)

Popular Indian cinema provides a test case for examining the limitations of Gilles Deleuze's categories of movement-image and time-image. Due to the context-specific aesthetic and cultural traditions that inform popular Indian cinema, although it appears at times to be both movement- and time-image, it actually creates a different type of image. Analysis of Toofani Tarzan (1936) and Dilwale Dulhania Le Jayenge (1995) demonstrates how, alternating between a movement of world typical of the time-image, (...) and a sensory-motor movement of character typical of the movement-image, popular Indian cinema explores the potential fluxing of identities that emerge during moments of historical complexity. (shrink)

Résumé Beaucoup de cinéastes et de théoriciens français ont très longtemps clamé que le cinéma ne consistait pas à produire des images, mais des plans – catégorie adossée à la notion de durée et très vague, puisqu’elle désigne une découpe à la fois spatiale et temporelle. Cette réticence au concept d’image a ainsi nourri une sorte de « Yalta » cinéphile, distinguant la lignée des frères Lumière (la vue comme art du réel) et celle de Georges Méliès (le tableau (...) fantasmagorique). Cette opposition entre image (souvent assimilée, ici, à l’imagerie ou au cliché) et plan-durée peut être comparée à la fort ancienne querelle du dessin et de la couleur (ce qui cerne et ce qui déborde). Nous tenterons ici d’étudier l’éventualité d’un « icono-réalisme », en nous appuyant notamment sur les travaux de Gilles Deleuze et de Jacques Rancière (La Fable cinématographique), ainsi que sur un moyen-métrage de Pier Paolo Pasolini, La Ricotta (1963). (shrink)

By drawing on Husserl’s manuscripts on Phantasy, Image Consciousness and Memory, this paper aims to shed light on some of the primary concepts defining his notion of image—such as “belief,” “presentification” and perzeptive Phantasie—and endeavours to show how such concepts could be profitably developed for the sake of a phenomenological description of film image. More in particular, these analyses aim to give a phenomenological account of the distinction between positing film images, presupposing a claim to reality—for example (...) the ones we experience in a documentary attitude—and quasi-positing film images involved in artistic creation. The latter, despite their photographic relation to reality, are capable of giving rise to filmic “image-worlds” having intersubjective existence. (shrink)

Walter Benjamin pointed out the affinity of cinema and architecture, and argued unexpectedly that tbese art forms are both essentially tactile arts. The tactility of the material art of building is not difficult to grasp, but the idea that a cinematic projection could result in fundamentally tactile experience certainly meets objections. However, the philosophical as well as neurological studies ofthe past few decades in perception, emotion, and thought, as well as in artistic expressions, suggest that these two arts, or (...) poetic images at large, address ali our senses, including our synthesizing existential sense, all at once. The arts communicate through the “fiesh of the world”, to use a notion of Maurice Merleau-Ponty. The acts of perception, feeling, thinking, and memorizing cal! for the reality and sense of embodiment. We identify ourselves unknowingly with constructed architectural spaces as well as projected cinematic situations with our empathetic capacity. So, Benjamin ‘s argument could be re- -formulated: cinema and architecture are embodied atis in which the externa! and the internal are fully intertwined and fused. “The world is wholly inside, and 1 aro wholly outside myself’, as Merleau-Ponty enigmatically argues. (shrink)

This paper examines the relationship between identities and the bicycle as portrayed in films. The analysis finds that taking the viewpoint of the bicycle emancipates the bicycle from being subjected to closure, as the constructionists would have it, and thus articulates the differences with which the bicycle can communicate to its rider. The paper examines the bicycle as depicted in three films: Premium Rush, A Sunday in Hell and Life on Earth. It engages with the concept of ‘interpretative flexibility’ and (...) the development of the bicycle, as examined by Wiebe Bijker and others, and argues that the interpretative flexibility of bicycles does not cease just because the high-wheeler was abandoned and the ‘safety’ bicycle was universally accepted. The fight for the role of the bicycle continues and the bicycle is subject to constant transformations in order to reconstruct it according to human needs. Andrew Feenberg’s modified constructivism is applied to re-examine the technical development of the bicycle, claiming that technology is dependent on specific social structures as well as human agency. The paper argues that just as social structures are negotiable and unfixed at any point in time, the bicycle too is never neutral but remains negotiable and unfixed. Consequently, since the bicycle constantly ‘speaks’ back to the user, there is never closure in the technical development of the bicycle. Drawing on the writings of Bruno Latour and the Deleuzian idea of assemblages, the bicycle and its rider are considered as an organic entity that is constantly forged and un-forged. Understanding the rhetoric of the bicycle machine helps the convergence of a bicycle becoming with becoming a rider, marking the bicycle as equal to its rider. Viewed in this way, the hierarchy of agency collapses and a crystallization emerges out of the rider and bicycle entwinement. (shrink)

L’émergence de la Nouvelle Vague au tournant des années 1960 peut se lire comme la revendication d’une posture créatrice relevant de la culture d’élite, dans un medium jusque là éminemment populaire, le cinéma. S’inscrivant dans une tradition culturelle particulièrement forte en France, ce nouveau cinéma va se conjuguer quasi-exclusivement au masculin singulier, et les figures féminines qu’il crée oscillent entre la prise en compte de l’émancipation des femmes réelles et des fantasmes romantiques et misogynes beaucoup plus archaïques. Ces contradictions sont (...) explorées à travers quatre films de Godard, Chabrol, Varda et Resnais. (shrink)

L’émergence de la Nouvelle Vague au tournant des années 1960 peut se lire comme la revendication d’une posture créatrice relevant de la culture d’élite, dans un medium jusque là éminemment populaire, le cinéma. S’inscrivant dans une tradition culturelle particulièrement forte en France, ce nouveau cinéma va se conjuguer quasi-exclusivement au masculin singulier, et les figures féminines qu’il crée oscillent entre la prise en compte de l’émancipation des femmes réelles et des fantasmes romantiques et misogynes beaucoup plus archaïques. Ces contradictions sont (...) explorées à travers quatre films de Godard, Chabrol, Varda et Resnais. (shrink)

Lorsque, dans le film de Max Ophüls Letter from an Unknown Woman, l’homme arrive aux derniers mots de la lettre que lui a adressée la femme inconnue, on nous le montre – selon des techniques éprouvées et bien connues de montage rapide – agressé par une suite...

오늘날 급변하는 영화적 환경과 디지털 기술의 발달 그리고 미디어의 다양화는 영화의 제작 환경과 시스템을 빠르게 변화시키고 있다. 또한 필름 시대의 종말은 영화의 ‘죽음’과 ‘진화’ 사이의 논쟁 속에서 새로운 이미지 시대를 개시하고 있다. 이제 더 이상 영화는 전통적인 방식으로 규정될 수 없으며 영화의 위상은 이러한 미디어 환경의 변화 속에서 새롭게 제고되어야 할 것이다.BR 질 들뢰즈의 영화철학은 21세기 영화의 총체적인 변화와 위기를 매체의 본질적인 차원에서 논증할 수 있는 이론적 토대가 된다. 물론 그의 영화철학이 더 이상 현대적인 산물이 아니라는 점은 치명적인 문제가 될 (...) 수 있다. 그러나 오늘날 영화가 직면한 위기와 현상적인 문제들은 다시금 영화의 본질에 대한 의미와 중요성을 각인시키며 현대의 수많은 영화의 논쟁들은 ‘영화란 무엇인가’라는 본질적인 물음으로 향하고 있다. 그것은 영화가 디지털 방식으로 전환되고 그것이 미적 체험과 지각에 심각한 변화를 초래할지라도, 여전히 영화는 이미지, 운동과 시공간, 내러티브 속에서 존재하며 이에 대한 관객의 정신적-심리적 경험은 지속되기 때문이다. 이러한 점에서 들뢰즈 영화철학적 문제제기는 시대적인 한계를 넘어서 현재적인 관점에서 적극적으로 확장하고 재론될 필요가 있다.BR 특히 그의 영화철학은 영화의 정체성에 대한 고전적인 물음을 ‘영화가 무엇을 생산할 수 있는가’라는 창조적이고 당위적인 차원의 논의로 확장시켰다는 점에서 혁신적인 의의를 갖는다. 이러한 점에 착안해서 본 논문은 현실적인 문제 속에서 영화의 잠재적인 역량에 주목했던 들뢰즈의 영화철학을 생산적인 관점에서 해명하고자 한다. 그가 영화의 고유한 창조 행위를 인간적이고 예술적인 저항 행위라고 규정했을 때, 그것은 바로 영화가 이미지의 창조를 넘어서 관객을 새로운 사유의 지평으로 이끌고 이로써 주체적인 인간형상을 구축하는데 기여해야만 한다는 어떤 생산적인 당위성을 의미한다. 따라서 들뢰즈의 관점에서 영화의 미학적인 운동은 새로운 영화 이미지가 얼마나 관객의 창의적인 사유 능력을 이끌어낼 수 있으며, 이것이 어떻게 주체적인 자각과 성찰로 귀결될 수 있는지의 문제와 긴밀하게 연관된다. 이러한 점에서 들뢰즈의 영화철학적 기획들은 ‘이미지’, ‘사유’ ‘주체’의 차원에서 적극적으로 해명될 필요가 있으며 이는 포스트-시네마 시대에 대중문화를 선도하는 영화의 위상과 역할에 많은 시사점을 제공할 것이다. (shrink)

This paper proposes to read cinema in the digital age as a new type of image, the neuroimage. Going back to Gilles Deleuze's cinema books and it is argued that the neuro-image is based in the future. The cinema of Alain Resnais is analyzed as a neuro-image and digital cinema.

Der Beitrag schlägt vor, das Kino des digitalen Zeitalters als einen neuen Typus des Bildes zu lesen: als Neuro-Bild. Im Rückgriff auf Gilles Deleuzes Kino-Bücher sowie sein Werk Differenz und Wiederholung argumentiert der Beitrag, dass das Neuro-Bild in der Zukunft begründet sei. Abschließend wird das Kino von Alain Resnais als Neuro-Bild und digitales Kino avant la lettre vorgestellt. This paper proposes to read cinema in the digital age as a new type of image, the neuroimage. Going back to (...) Gilles Deleuze's cinema books and it is argued that the neuro-image is based in the future. The cinema of Alain Resnais is analyzed as a neuro-image and digital cinema. (shrink)

Lorsque, dans le film de Max Ophüls Letter from an Unknown Woman , l’homme arrive aux derniers mots de la lettre que lui a adressée la femme inconnue, on nous le montre – selon des techniques éprouvées et bien connues de montage rapide – agressé par une suite..

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)

This book explores the shared experiential ground of cinema, art, and architecture. Pallasmaa carefully examines how the classic directors Alfred Hitchcock, Stanley Kubrick, Michelangelo Antonioni, and Andrei Tarkovsky used architectural imagery to create emotional states in their movies. He also explores the startling similarities between the landscapes of painting and those of movies.

I. Cinema equals Language II. _Vertigo_ III. _Maborosi_ IV. Sound, Mood, and Depth V. Sense Intensified.

Un élément constant de la pensée de Stanley Cavell est sa façon de prendre au sérieux le cinéma, notamment hollywoodien, non comme objet philosophique, mais comme philosophie, comme ayant un contenu et un enseignement philosophique. Cavell, après un ouvrage général sur l’ontologie et l’expérience du cinéma,...

A rigorous and imaginative inquiry into rhythm's vital importance for film and the moving image.

Cinema and Machine Vision unfolds the aesthetic, epistemic, and ideological dimensions of machine-seeing films and television using computers. With its critical-technical approach, this book presents to the reader key new problems that arise as AI becomes integral to visual culture. The book theorises machine vision through a selection of aesthetics, film theory, and applied machine learning research, dispelling widely held assumptions about computer systems designed to watch and make images on our behalf. -/- At its heart, Cinema and (...) Machine Vision is an invitation for film and media scholars to critically engage with AI at a technical level, a prompt for scientists and engineers working with images and cultural data to critically reflect on where their assumptions about vision come from, and a joint recognition of the fruitful problems of working together to understand the algorithmic governance of the visual. (shrink)

Un élément constant de la pensée de Stanley Cavell est sa façon de prendre au sérieux le cinéma, notamment hollywoodien, non comme objet philosophique, mais comme philosophie, comme ayant un contenu et un enseignement philosophique. Cavell, après un ouvrage général sur l’ontologie et l’expérience du cinéma,..

Highlights Merleau-Ponty’s interest in film and connects it to his aesthetic theory.