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Cinema II: The Time-Image

Gilles Deleuze (No current affiliation)



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24 October 2013
Film theory & criticism; Philosophy; Western philosophy, from c 1900 -
Gilles Deleuze was one of the most influential figures in twentieth-century philosophy, whose master-works, Difference and Repetition and - with Felix Guattari - A Thousand Plateaus and Anti-Oedipus have become one of the most widely-influential bodies of work in contemporary thought.

Cinema II is Deleuze's second work on cinema, completing the reassessment of the art form begun in Cinema I. Influenced by the philosophy of Henri Bergson, Deleuze here offers a compelling analysis of the cinematic treatment of time and memory, thought and speech. The work draws on examples from major film makers, including Federico Fellini, Alfred Hitchcock and Orson Welles, among many others.
By:   Gilles Deleuze (No current affiliation)
Imprint:   Bloomsbury
Country of Publication:   United Kingdom
Dimensions:   Height: 216mm,  Width: 138mm,  Spine: 23mm
Weight:   450g
ISBN:   9781472512604
ISBN 10:   147251260X
Series:   Bloomsbury Revelations
Pages:   376
Publication Date:   24 October 2013
Audience:   General/trade ,  College/higher education ,  Professional and scholarly ,  ELT Advanced ,  Primary
Format:   Paperback
Publisher's Status:   Active
Preface to the English Edition \ Translator's Introduction \1. Beyond the Movement-Image \ 2. Recapitulation of Images and Signs \ 3. FromRecollections to Dreams: Third Commentary on Bergson \ 4. The Crystals of Time\ 5. Peaks of Present and Sheets of Past: Fourth Commentary on Bergson \ 6. ThePowers of the False \ 7. Thought and Cinema \ 8. Cinema, Body and Brain,Thought \ 9. The Components of the Image \ 10. Conclusions \ Notes \ Glossary \Index.

Gilles Deleuze (1925-1995) was one of the key figures in poststructuralism, and one of the most influential philosophers of the twentieth century. His major works include, with Felix Guattari, A Thousand Plateaus and Anti-Oedipus.

Reviews for Cinema II: The Time-Image

Cinema I and Cinema II must be understood as works of philosophy, not of film criticism. They are Deleuze's reflection on the new ways the cinema enables us to think about time and movement, opening up insights into semiotics and our ideological construction of a world increasingly experienced through representational media... The main purpose of these books is to identify and explore the implications of a vital shift from classical, pre-World War II cinema of the movement-image to post-World War II cinema of the time-imaging... Cinema 1 and Cinema 2 perhaps ultimately have more to teach us about philosophy, conceptions of subjectivity, and hermeneutics than to say something about any specific film. These books are challenging because they develop their own vocabulary in dialogue with the history of philosophy, and they assume a wide knowledge of films from the Soviet, European and Hollywood traditions. They reward the effort required to read them, however, for the original tools with which they provide us to understand cinema and semiotics more generally. Deleuze concludes that it is important to think of cinema not as a language, but as a way of bringing to light 'intelligible content' which is a condition through which language constructs its objects (Cinema 2, p.251). Thus, purely optical and sound images which do not extend into action might be one way in which aesthetics might help us break outside of the determining structure of linguistic systems, enabling us to imagine the world otherwise. Deleuze helps us to see cinema as more than just a collection of texts but as additionally 'a new practice of images and signs, whose theory philosophy must produce as conceptual practice' (Cinema 2, p. 269). - Sherryl Vint, Film International, Issue 27 -- Film International

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